“The work is thought through and beautifully accomplished, there is nothing perfunctory or slapdash in its execution. “In his milieu, Peter Marino stands like a giant,” says architectural author Jonathan Chadwick. He is the go-to figure for conspicuous consumption, a dream weaver in marble and gold.
If you’ve entered a Chanel, Dior or Louis Vuitton store in the past decade, Marino’s aesthetic could well have been the trigger for that ‘investment’ purchase. But he is perhaps most famous for the raft of stores he has imagined and executed for the world’s most prestigious fashion houses. For almost fifty years this striking character has applied architectural nous to a dazzling array of commissions, including private homes for the superannuated, grand, conceptual interiors, and all manner of radical side projects. Marino-let’s call a spade a spade and anoint him with the mantle of ‘starchitect’-is a man obsessed with style. I call myself an interior architect, but for me interior, exterior and landscape architecture, they’re all the same. “I feel my style is something that defines the time in which we live,” he said with characteristic zeal, “in that it combines many things: art, textiles, furniture, and a very definite modernity in architecture. Here was the embodiment of their world: an ‘on the money’ obsessive with the highest regard for the well crafted. He told tales of clean lines and daring façades, of risk taking and no-brainer beauty. Ever.When architect Peter Marino-a vision in black leather-sat down to talk to Vogue Italia, the venerated style bible must have thought they’d struck gold.
#PETER MARINO ARCHITECT NEW YORK HIGH SCHOOL ARCHIVE#
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No click - like - tweet - share, no advertising, banners, pop-ups. This is why Divisare is a place to perceive architecture slowly, without distractions. Instead of hastily perused information, we prefer knowledge calmly absorbed. Instead of a quick, distracted web, we want a slow, attentive one. Patient work, done with care, image after image, project after project, to offer you the ideal tool with which to organize your knowledge of contemporary architecture. Join us in taking a stand against the short attention architecture media.ĭivisare is the result of an effort of selection and classification of contemporary architecture conducted for over twenty years. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
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