Ferrillobelli

Casa
Italia
Milan
Ferrillobelli

Milan-based architecture and design studio established in 2010 by Fabio Ferrillo Belli. Here Fabio creates the first ever emotional room.

Fabio Ferrillo, architetto, dopo la tesi sperimentale al Politecnico di Milano (2004), viene invitato a collaborare con uno dei più dinamici studi della città, dove acquisisce dimestichezza con la progettazione di abitazioni di lusso e spazi commerciali per prestigiosi marchi italiani. Trasferitosi a Parigi dal 2005 al 2010 per confrontarsi da vicino con le più recenti realizzazioni dei grandi ar

chitetti francesi e le suggestioni della Maison de Verre di Pierre Chareau e per dirigere il team internazionale di progettazione per i laboratori del Pôle de Recherche a Laon, affina il proprio tratto distinguendosi nel taglio degli spazi a misura dl committente, senza perdere il controllo dei costi di realizzazione. Chiamato in Italia a far parte di un hub di giovani creativi uniti dal desiderio di condividere le diverse esperienze e competenze rispettivamente maturate nel mondo della fotografia, grafica, sartoria e design, fonda nel 2010 lo studio di architettura OFFarch. In questo humus interdisciplinare e differenziato maturano le collaborazioni nel campo del retail con lo stilista astro nascente della moda italiana Massimo Giorgetti, per cui realizza gli headquarters del marchio MSGM a Milano, trasformando una vecchia fonderia in una fucina di idee, e con la fashion blogger più seguita del momento, Chiara Ferragni, per cui progetta lo showroom milanese ma soprattutto il concept per gli omonimi shoe store monomarca e ne cura la realizzazione presso Le Bon Marché a Parigi, Apropos a Colonia, Harvey Nichols a Hong Kong. Ma è collaborando con Riccardo Grassi, all’interno del cui prestigiosissimo showroom milanese realizza l’enorme spazio dedicato alle campagne vendita MSGM, che Fabio Ferrillo elabora la prima emotional room, elemento al contempo architettonico e artistico, che realizza un’esperienza emotiva posta tra i buyer e la collezione. Istallazioni sempre nuove, realizzate impiegando creazioni di autori contemporanei, le emotional room di Ferrillo stimolano in chi si accinge ad accedere allo showroom pensieri, idee, emozioni di rottura con il caos esterno, ma in linea con i mood delle collezioni. Playground, maggio 2015, parco onirico, composto da giostre e altalene in ottone disposte su un campo di specchi, sullo sfondo degli scatti notturni del fotografo parigino Stanislas Wolff ha introdotto il pubblico alla collezione Woman Resort e Man Spring Summer 2016. Soundbox, settembre 2015, immaginaria stanza sonora in cui i rumori esterni sono annullati da pannelli fonoassorbenti per essere avvolti dall’installazione musicale, ha rappresentato la porta verso la collezione Woman Spring Summer 2016. Con l’intento di valorizzare questo approccio integrato tra moda, design, arte e architettura è imminente l’installazione di Soundbox presso Le Bon Marché a Parigi in occasione della prossima fashion week, perché l’esperienza emozionale proposta da Ferrillo possa essere vissuta non solo dai buyer ma da tutti i clienti MSGM. Fabio Ferrillo, architect, finalised his studies at Politecnico di Milano in 2004 and was then invited to collaborate with one of the most up-and-coming firms of the city, where he became an expert in the design of luxury homes and commercial spaces for prestigious Italian brands. In 2005 he moved to Paris in order to become more closely acquainted with the latest achievements of the great French architects and the vision of the Maison de Verre by Pierre Chareau. During his time in the ville lumiere he directed the international design team for the laboratories of the Pôle de Recherche in Laon. Paris gave Fabio Ferrillo the means to refine his distinguishing traits: cutting tailor made spaces while managing to keep costs at bay became his major strength. Fabio Ferrillo went back to Italy in 2010 to be part of a fantastic hub of creative young people united by the desire to share their passion and expertise in photography, graphic design and tailoring and established his architecture studio, OFFarch. While in this interdisciplinary creative melting pot, Fabio Ferrillo starts collaborating with Italian fashion revelation Massimo Giorgetti, creating the headquarters for his brand MSGM in Milan by transforming an old foundry into a unique working space. He also collaborates with Chiara Ferragni, world renowned fashion blogger, for whom he designs a showroom in Milan and a series of concept stores as well as concessions at Le Bon Marché Paris, Apropos Cologne, Harvey Nichols Hong Kong. In collaboration with Riccardo Grassi, in his prestigious Milan showroom, Fabio Ferrillo realizes the enormous space dedicated to the sales of the MSGM brand. An architectural and artistic space placed in between the buyers and the collections, filled with constantly changing contemporary artists installations, aimed to set people free from the outside chaos and fine tune them to the environment to start feeling the theme. Playground, in May 2015, a dream park of brass, rides and swings arranged on a field of mirrors. In the background, night shots by Parisian photographer Stanislas Wolff. This installation introduced the audience to the Women’s Resort and Men’s Spring Summer collection 2016. Soundbox, in September 2015, an imaginary sound room where external noise is eliminated by soundproofing panels that in turn hide a musical installation by the sound designer Andrea Ratti. This has been the gateway to the 2016 Spring Summer Women’s collection. This integrated approach to fashion, design, art and architecture will soon be installed and presented at Le Bon Marché in Paris during the next Fashion Week, so that this emotional experience can be undertaken not only by buyers at the showroom but by all MSGM customers.

14/07/2025

Giancarlo Ragazzi and Enrico Hoffer (landscape), Milano 3, 1980–1991

Building on the success of Milano 2 in Segrate, the company Edilnord Progetti Spa, part of Silvio Berlusconi’s Fininvest group, developed the new residential district of Basiglio, Milano 3 City, between 1980 and 1991, closely modeled on its predecessor.

As in Milano 2, the settlement was built entirely from scratch, with no historical preexistence, and was conceived as a purpose-built residential model aimed at the middle class leaving the city. It was equipped with all services considered essential: a church, schools, the municipal headquarters, sports facilities, extensive green spaces, a Carabinieri station, private security, and shops—but lacked cultural spaces such as cinemas or theaters.

Milano 3 houses the seat of the Municipality of Basiglio, which before the 1980s was a small agricultural village. In many ways, it functions as a form of self-contained city that also incorporates its own administration. This is closely tied to the social and economic profile of Milano 3’s residents (for several years, it was the Italian municipality with the highest average income, and it has a low presence of foreigners, except for the Filipino community, along with a population noticeably skewed toward the elderly).

The architecture of Milano 3, again designed by Giancarlo Ragazzi and Giuseppe Marvelli, is more homogeneous and repetitive than that of Milano 2, and it is beginning to show its age, both in terms of architectural language and especially regarding maintenance and energy efficiency. All the apartments are currently rated energy class F, and it is difficult to imagine a comprehensive and coordinated energy retrofit. Nevertheless, the vision of a landscape, of a green, peaceful, and well-maintained city, still endures, thanks to the landscape design by Enrico Hoffer, making Milano 3 a desirable place to live for some.

01/07/2025

Pietra, luce e acqua: Peter Zumthor e i Bagni Termali di Vals, 1996.

Gli edifici realizzati da Peter Zumthor, pochi se si considera la sua produzione fino a oggi, rappresentano sempre delle pietre miliari e delle prese di posizione generali e originali sul potenziale architettonico di un luogo e di un incarico. Così è anche per le terme di Vals, un villaggio che sorge isolato nei Grigioni, Svizzera.

Il nuovo complesso termale, progettato da Zumthor nel 1996, si presenta come un monolite di pietra che dà l’impressione di essere formato da spazi e funzioni tra loro scollegati. Questa frammentazione apparente dà origine a un vero e proprio labirinto, in profonda relazione con l’energia primordiale del luogo, con la realtà geologica del paesaggio alpino e con l’imponente verticalità del sito.

Per raggiungere la sua visione Zumthor impiega l’architettura, intesa sia come tecnica sia come compito costruttivo, portata avanti con rigore metodico. È in questo contesto che sviluppa per la prima volta il cosiddetto “muro composito di Vals”, formato da liste di pietra locale tagliate sottilmente. Dal punto di vista architettonico la disposizione uniforme degli strati di pietra produce un’impressione monolitica, in senso quasi letterale. Le superfici di calpestio, i pavimenti delle vasche, i soffitti, le scalinate, le sedute in pietra, le soglie delle porte: tutto si sviluppa secondo lo stesso principio di stratificazione generale.

Queste terme non rappresentano un’esperienza turistica in senso classico: esse creano nuove situazioni che riguardano la corporeità e il coinvolgimento dei sensi stimolando una sensibilità diretta rivolta all’incontro con gli elementi. Qui i nomi - la pietra per la doccia, la pietra per bere, la sala della “pietra che suona”... - entrano in contrasto con le loro funzioni: quello che veramente, dal punto di vista architettonico, era stato pensato come un nuovo principio basilare della sensibilità, come il contrario di un’esperienza spettacolare per turisti, si tramuta ora, nel suo messaggio architettonico fondamentale, in un ambiente “new age”, destinato a un utilizzo differente.

28/06/2025

Peter Zumthor, Mass, Matter and Light.

Known for his sensuous materiality and attention to place, Peter Zumthor is one the most revered architects of the 21st century. Shooting to fame on the back of The Therme Vals and Kunsthaus Bregenz, completed just a year apart in 1996 and 1997, his work privileges the experiential qualities of individual buildings over the technological, cultural and theoretical focus often favored by his contemporaries.

His buildings are mysterious and enticing but show no signs of style or formal preconceptions. His concern is with context, experience, and materiality, not aesthetic. Perhaps this is his most significant contribution to architecture: a truly meaningful architecture of place and experience.

Just as matter and its relationship with the surface are central to architectural practice so too are the carefully chosen materials, whose combinations are never random. These elements work together to uncover new spaces, volumes, and interactions with light. Light, in turn, shapes the atmosphere, reveals the construction’s anatomy, and releases its vibrancy, striving toward a transcendence that links the real with the imaginary.

1, 2. Kolumba Art Museum, Köln, 2007
3, 4. Shelter for Roman Excavations, Chur, 1988
5, 6. Saint Benedict Chapel, Sumvitg, 1988
7. Gugalun House (Truog House), Versam, 1994
8. Therme Vals, Vals, 1996
9. Kunsthaus Bregenz, Austria, 1997
10, 11. Swiss Sound Pavilion, Hannover, 2000
12. Studio House Zumthor, Graubünden, 2005
13. Bruder Klaus Field Chapel, Germany, 2007
14. Steilneset Memorial for the Victims of the Witch Trials, Norway, 2011
15, 16. Serpentine Gallery Pavilion 2011, London
17. Allmannajuvet Rest Area and Museum, Norway, 2016
18, 19. Secular Retreat, UK, 2018
20. Los Angeles County Museum of Art (under construction 2023)

26/06/2025

“I dettagli, quando sono di successo, non sono solo decorazioni. Non distraggono, non intrattengono, ma inducono alla comprensione del tutto, alla cui essenza necessariamente appartengono.” Peter Zumthor

In un mondo che celebra soprattutto gli stili e il superfluo, Zumthor è un architetto-artigiano che plasma la forma degli oggetti sulla loro essenza. Il progetto è una conseguenza delle specificità dell’uso, del luogo e della società. Un ‘creatore di atmosfere’ che evoca attraverso una ricerca ossessiva dei materiali e delle relazioni che intercorrono tra essi. L’enfatizzazione degli aspetti sensoriali dell’esperienza architettonica si ritrova in molti suoi progetti, tra cui i Bagni Termali di Vals, in Svizzera, la Ca****la di San Nicola de Flüe vicino Colonia e il Kolumba Museum.

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23/06/2025

Over the past few decades, many European cities have launched ambitious urban regeneration projects to respond to the environmental, social, and economic challenges of fast-changing cityscapes. Among these initiatives is the redevelopment of Cascina Merlata, located in the northwestern outskirts of Milan, adjacent to the former Expo site. This project stands as a noteworthy example of urban renewal aimed at transforming a marginalized area into a sustainable, inclusive, and well-connected neighborhood.

Cascina Merlata has deep rural roots: for centuries, the area was characterized by agricultural fields and rustic buildings. However, with the urban and industrial expansion of the 20th century, the area gradually fell into neglect and decay, becoming a forgotten suburb lacking in services and increasingly disconnected from the rest of the city. Starting in the 2000s, spurred in part by the prospect of Expo 2015, there emerged a strong will to radically reimagine and redevelop the area through comprehensive urban planning.

The project brought together a range of Italian and international architectural firms, all united by the vision of creating an eco-district distinguished by a diverse residential offering. Private housing, subsidized housing, and social housing coexist within the same space, with the aim of fostering social inclusion and a balanced community.

Despite these goals, the neighborhood remains relatively isolated, both physically and culturally, from the rest of the city. In its initial stages, the absence of shops, cultural venues, and social spaces contributed to the perception of the area as empty and lacking identity. Furthermore, there is an ongoing risk of controlled gentrification: as the district gains value, it may begin to attract primarily middle- and upper-income residents, thereby undermining its original commitment to social inclusion.

16/06/2025

Studio Architetti BBPR, restoration and arrangement of Musei del Castello Sforzesco, Milan, 1947-1963.

The restoration of the Castello Sforzesco, heavily damaged by the 1943 bombings, were conducted by the BBPR studio with Costantino Baroni. It represents one of the most significant achievements in Italian architectural culture regarding exhibition design. BBPR created an exhibition itinerary seeking to give unity to the heterogeneity of the spaces and works on display, in which content does not prevail over the container, but a relationship between the two is formed. The use of enduring materials (iron, wood, stone, and bronze) and the carefully designed furnishings and pathways, particularly the benches, staircases, and walkways, reflect a conscious effort to align with the monumentality of the architectural whole.

In November 1952, the museum acquired what was considered its most captivating addition: Michelangelo’s Pietà Rondanini (1552–1564). While awaiting a permanent home, the Pietà was installed in April 1953 in the Ducal Chapel, elevated on a sandstone socle from Capriolo. The arrival of the sculpture had significant repercussions. Four years after the BBPR studio had received its commission—during which time no visible progress had been made—the Pietà’s presence marked the beginning of a new phase, one characterized by numerous experimental endeavors by the BBPR.

Nearly sixty years after its inauguration on March 12, 1956, the critical acclaim of the Museum of Ancient Art has never waned.

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12/06/2025

“Museums should be architectural organisms conceived to preserve the documents not as things which are dead forever but which, although no longer part of the active life cycle, are still worthy of being shown and studied.” Ernesto Nathan Rogers (BBPR)

Historical evidence needs to be assigned an operative function in the present time. In this way, museums will continue to be able to perform their educational function in society. This principle imbues the whole modernization plan for Italian museums, launched around 1945 and largely completed during the 1960s. However, in their reform of the Museo d’Arte Antica of the Castello Sforzesco in Milan (1947-1956 Ducal Courtyard; 1961-1963 Rocchetta Courtyards), BBPR, offer a peculiar interpretation of the relationship among art, history and public.

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06/06/2025

Progettare per me è un dovere. Significa non dimenticare, per noia o per pigrizia, di avere a disposizione un linguaggio potente. È un’espressione del mio modo di vedere il mondo, un atto intellettuale prima che pratico, il mio modo quotidiano di dare un contributo reale e sincero alla società civile.

04/06/2025

Who Is the Architect? Is “the architect” a corporate body or an individual agent? A vocational identity or a professional singularity? A servant to power and wealth or an intermediary between capital and labor?

28/05/2025

Carlo Aymonino + Aldo Rossi, Monte Amiata Housing Complex, Milano, 1967-1974.

Monte Amiata tells of a Milan that in the 1970s was to cross the threshold of postmodernism: it was born as a parallel microcosm, a city of the future. The first experimental professional collaboration between Carlo Aymonino and Aldo Rossi, coinciding with their studies on the European city, was an attempt to represent a fragment of the city with its irregular forms and architectural languages, transposing them into a complex of low-cost dwellings and council housing.

This centrifugal accumulation of building materials, with the open-air theatre as its nucleus, is articulated in three eight-storey buildings, one of which is flanked by the long three-storey colonnaded structure by Aldo Rossi.

After its completion in 1972, the intervention became an exemplary point of reference in the architectural and social debate on housing, which came to a head with the two occupations of the flats. The clearing out of the buildings on 4 May 1974, in large part occupied by architecture students, was an episode of urban guerrilla conflict that came to symbolise the housing struggle in those years.

Today tourists, students and visitors can explore Aymonino and Rossi’s development free of charge for one hour maximum, thanks to an awareness of the importance of the site among residents, doorkeepers and preservation groups alike.

Photo by Clemente Vergara

16/05/2025

Triennale 24th International Exhibition - Inequalities.

Triennale Milano has gathered thoughts, ideas, and proposals from researchers, creatives, and scholars of various disciplines from around the world, keeping two main directions: the geopolitics of inequalities and the biopolitics of inequalities.

The ground floor of the Palazzo dell’Arte is devoted to the geopolitical dimension, with reflections mainly, but not only, on the cities. The cities of the world are in fact the place where the challenges of reducing global warming and overcoming inequalities intersect. They are the place where the challenge of the coming decades will be won or lost. It is by looking at the geography of the world through inequality, that we are able to understand the geopolitical balances— and especially the imbalances— characterizing our lives. In The Atlas of a Changing World, Maurizio Molinari’s
maps help us understand the profound disparities running through our societies and our cities, dismantling the traditional dichotomy between the planet’s North and South and revealing a multiplicity of hierarchies and polarizations that are redefining global borders and distances.

Wars deepen inequalities, disproportionately affecting the most vulnerable—children, women, and marginalized communities—and leaving wounds that last for generations. On the Main Staircase between one floor and the other of the exhibition, Filippo Teoldi’s 471 Days transforms data into a
visual experience to explore war, one of the most dramatic manifestations of inequality, in this case the conflict between Hamas and Israel, which caused more than 48,000 victims between October 7, 2023 and the fragile ceasefire of January 19, 2025.

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14/05/2025

“We are born unequal- all of us. Not only because of the genes we inherit, but because of our families, our surroundings, the particular corner of the world in which we are born. From the very beginning, we are shaped by differences and marked by inequality.
Sometimes they present themselves as opportunities, other times as constraints. They may serve as resources, as foundations of identity that evolve over time, or as chains that hold us back, bonds from which we must struggle to break free.” Stefano Boeri

The 24th International Exhibition, under the title “Inequalities” is a collective project that, through exhibitions, installations, special projects and events, questions the global challenges related to the differences present in various spheres of existence: from economic to ethnic, from geographic origin to gender.

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