Sharing - Zenucchi Design Code

Just outside Bergamo, on the top floor of a brand new building, is the flat of a young man. Graced by a design that resembles a sculpture. To welcome his friends, his relatives. Of chandeliers that look like jewellery, of soft seats and even softer rugs. A home made of large spaces and petrol-blue fabrics. Of chandeliers that look like jewellery, of soft seats and even softer rugs. Starting with its open space, with the entrance that separates the living room from the kitchen and the pivot door onto the corridor, the bathrooms and the master bedroom. Natural oak slats define the spaces, without exception. In the living room they welcome social occasions, furnishing that speaks of love and friendship. Antonio Citterio’s Amoenus round and soft chaise longue (2006, Maxalto). The large and angular Andersen sofa by Rodolfo Dordoni (Minotti). Hinting at evenings of conversation, and afternoons of laughter. There in front, two rugs. One is as blue as the ocean is deep; the other, diamond-patterned, is the Diamantina model by Gio Ponti (Amini). And then the tables, which are many and varied. The Loto (2006, Maxalto) and the Frank (2012, B&B Italia), both designed by Antonio Citterio. And Charles & Ray Eames’ Stools (1960, Vitra), a wooden knob full of history and fun. Behind the sofa, a colourful canvas is the chromatic counterweight of the TV cabinet. A cabinet of solids and voids, of whites and browns. Its surfaces reflect a studied light. It filters through the large window. Through the blue curtain. It is diffused by the many swivelling spotlights that chase each other along the The Tracking Magnet (Flos) recessed track, without ever touching.

Doorless walls separate the living area from the kitchen. In anthracite-coloured laminate, Varenna’s Alea has life in it. Its wooden snack top, recessed columns in the alcove, with the refrigerator, oven and wine cellar. And then, on the opposite side, that geometric see-through effect. The CTLine by Victor Vasilev (Boffi) is a sculpture and a pantry. It has practical shelves, but hides them from view. The ceiling here is white and pure. There is no hood (incorporated in the induction hob), only the black track with its spotlights. It is a kitchen to live in, like the dining area. Where the Arc table by Foster + Partners (Molteni & C) has a glass top, reflecting the light from the many suspened lights. Designed by Tom Dixon, these are precious gems, some round, some square. Timeless icons, alongside a sideboard that spanned that time. A restored family sideboard now houses the vintage lines of a lamp, designed by Poul Henningsen for Louis Poulsen. Everything is contamination here. In the room, the Gio Ponti rugs lives alongside the High-Wave bed by Hannes Wettstein (Molteni & C), as green as its curtain and as green as the forest. Shi-Chieh Lu’s Ming’s Heart (2016, Poltrona Frau) accompanies Michael Anastassiades’ IC Lights T (2014, Flos). Behind the armchair, a grey reflective glass door system – model Velaria by Giuseppe Bavuso – screens the master bathroom. An all-white bathroom, where glass meets Corian and colours are few. The dark green of the curtains, the pastel blue of the washbasin unit. Elegant, but youthful, details. Through the blue curtain. It is diffused by the many swivelling spotlights that chase each other along the The Tracking Magnet (Flos) recessed track, without ever touching.