Since the beginning of the 1990s her name has rightfully joined those of the most authoritative scholars of historical and theoretical issues related to cultural heritage. She has constituted, above all, an essential reference point for Italian urban culture for at least thirty years, from the beginning of the 1970s to the end of the century. Utopie et réalités, published for the first time in France in 1965 and translated in Italy in 1973 under the title La città. Indeed, her interests move from the field of visual arts to architecture, the city and the territory, and dwelling, in her more mature years, on the theme of cultural heritage, with a particular predilection for urban heritage.Ĭhoay has been famous in Italy since the early 1970s thanks to the success of L’urbanisme. We could, in fact, simplify it by saying that the interests of Choay –a philosopher by training, with particular attention paid to the ideas of Martin Heidegger– have ranged in all areas of Heidegger’s Building, dwelling, thinking. Heritage –analyzed within “allégorie” and “questions,” to cite the titles of two of her famous volumes– is, however, only one of the many fields to which the great French scholar has dedicated her vast work. There is no doubt that Françoise Choay has decisively contributed to defining the semantics and contradictions of cultural heritage, through a substantial body of writings published between the end of the 20th century and the beginning of the 21st century. Why don't you wear a three-piece suit?" I'm going to do it one Halloween.Urbanism, architecture and restoration from Alberti to Giovannoni I hate when people see me at a restaurant and point and say, "You're Peter Marino." My daughter says, "You ought to go camouflaged, Dad.With black T-shirts, a leather vest, and leather jeans, I can travel for three weeks without luggage. Karl Lagerfeld told me, "You took a page out of my book." I find suits so uncomfortable. Since I started doing my full-on motorcycle gear thing, I do attract attention.I tell them, "I'm not the right person for you." They want something comfy and white-shabby chic. I've gotten calls from Silicon Valley to do houses, but most of those people aren't interested in something visually extraordinary.I'm doing several commissions that are larger than townhouses-these are homes that are 60 feet wide and 200 feet deep. London is the center of our private work. About 20 to 25 percent of our work is private homes, mostly in Europe and the Middle East.Even if you put just one new piece of art in the space-and by that I mean something created in the past six months-you've done your job. If you create a room today that could have existed in 1976, it is a failure.We're supposed to be more intellectually elevated. Architects shudder when you use that word. I'm the only architect who is not afraid of the word pretty.An avid art collector and an artist himself, Marino says that "the triple play of art, architecture, and fashion is what most excites me. Somehow, he juggles both Chanel and Dior as clients, a skillful trick that last year earned him one of France's highest honors when he was decorated as a Chevalier de l'Ordre des Arts et des Lettres. Though he dislikes the term luxury-"It's overused," he says-Marino creates retail spaces for some of the world's most unabashedly luxurious brands. Cross Mad Max with one of the Village People and the result would look something like Peter Marino-the leather-clad, Mohawk-haired architect whose clients just might be the wealthiest on the planet.
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