The work is organized around the relationship generated between the original architectural parts designed by Guglielmo Ulrich in 1945 for Fioraio Radaelli, and Cristina’s new intervention: sublimating any decorative interference through the use of mirror-finish objects, an ironic but also magical tribute to the ‘nature’ of the place, and inserting contemporary elements that nevertheless jibe with the existing aesthetic approach.
The installation winds through an ample space such as that of the entrance hall, and extends into more intimate, cozy zones: everything suggests a new idea of urbanely domestic greenery. A process of layering nurtures coexistence between material and content, suggesting a new way of perceiving and using space, to generate new habits.
Third chapter of a personal project started in 2018, providing evocative perspectives on iconic yet hidden locations in the city of Milan, the project by Cristina Celestino takes its cue from the nature of the space itself, the indoor-outdoor dialogue, interacting with the existing aesthetic and establishing a fertile synergy between an idea of design and domesticated nature.
