Massari
Instead, in terms of volumes, I am impressed with
how much miniaturization of the light points in
relation to their power the industrial revolution
has brought about in recent years.
And as for the urban light what vision do you
have? Do you have any project going on?
We were talking about the lighting of spaces, but
we can very well speak about the light of a city, of
a building and of urban light, which by the way is
very important. With several municipalities I am
working on a project for a street lighting
installation at the centre of the streets, and no
longer sideways through poles that often also
disturb the inhabitants. It is a form of floating
aerial lighting that will not create a visual
obstacle, not even to the pedestrians.
If you were to define your work or denote your
trademark, in two words, which ones would
you choose?
I would absolutely say matter and light.
You have started the construction site for the new
UN headquarters in Dakar, and for Doha you have
participated in a competition for a huge coastal
area where a new housing settlement will be
created and that you will call La Corniche. What
can you tell us about these projects?
The United Nations Headquarters for West Africa
will bring together the 33 UN agencies of the
region in Dakar. Our project takes the form of a
waterwheel, with an auditorium in the centre,
and with 7 or 8 branches that correspond to the
UN departments, an eloquent symbol.
La Corniche, on the other hand, is a site in which
magic and innovation are expressed together, a
project that creates a bridge between place and
time, a link between the arts. The poem of La
Corniche is an urban calligraphy that is gathered
throughout the central avenue, like pages moved
by the wind. They are like bright letters carried by
the wind and laid in a haphazard manner on the
ground, on the water and on the structures.
You have developed projects in many parts
of the world, what other culture do you feel
close to yours?
Well, definitely the Italian culture, like in general
the Latin one. Italy, a descendant of Ancient
Greece, always gets my attention and my
curiosity. I started going to Italy for my early
projects, beginning from Carrara to choose the
marble, and since then I have never stopped!
So that’s also why you took care of the extension
of the Ferrari headquarters in Maranello?
In a way, yes! High technology and tradition
are the strength of this company, and for the
new Ferrari building we have chosen
transparency, brightness and lightness for the
spaces, using its colours: Ferrari red, white,
and grey.
What can you tell me about the renovation of
the Lutetia in Paris?
Our study wanted to remain faithful to the spirit
and strength of the original 1910 project, bringing
it back to its former glory. Improving the function
of the hotel was one of the priorities. We have
also designed twenty interior lights, which, also
in this case, reflect the style of the building.
Concattedrale Gran Madre
di Dio, Taranto, e viste della
mostra "Sacrée Lumière!
Gio Ponti '55-'71" presso
la Fondazione Wilmotte,
Venezia / The Gran Madre di
Dio co-cathedral in Taranto
and views from the exhibition
"Sacrée Lumière! Gio Ponti
'55-'71", Wilmotte Foundation,
Venice
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