_ dynamic equilibrium
by Rosaria Zucconi and Francesca Benedetto photos by Andrea Ferrari In an apartment in one of Milan’s big- personality historical palazzos, Luca Bombassei experiments his desire for change The Milan home of architect Luca Bombassei reveals a decisive yet reserved personality and an eclectic vision of his profession. You chose an early twentieth- century palazzo: why? I liked its bourgeois character; I was fascinated by the carriage house ( which is now a garage) on a rotating wooden platform in the basement. I also liked its location close to the gardens at Porta Venezia. The interiors have a strong clear personality, which stood up to my relentless desire for change. What did it look like? It was a home that had survived the fashionable Milan era, the parquet replaced by planks in teak and invaded by pink marble. I took it back to its origins, laid recycled herringbone parquet and restored the reworked stucco decorations.
The project’s strong points? The equilibrium achieved by
teaming traditional with contemporary. When I switch on the big blue Claire Fontaine neon sign, the mood of the whole house changes, becoming a new space I live in and enjoy with my guests. How do you react to change? I fall in love easily; I see a piece of furniture, a lamp or a nice photo and give in to an impulse buy. They are irrational, unpredictable changes, caused by my love for all things beautiful. What will you keep forever? The works of art I have collected over the years: I see them as Polaroids of my life. The ideal client? Someone who shares my same interests and passions, a relationship of reciprocal show and tell. Any secret desires? My dreams are full of projects: I would like to start producing oil in Puglia: a rural life in this place that has few rivals in term of history, architecture and nature, which has captivated me. The latest project? I am working on a book that tells of my incredible experience with Skitsch ( the innovative design company, on line since 2009, - Ed.).
dynamic equilibrium p. 118
a diary house p. 130