Summarize this content to 2000 words in 6 paragraphs in Arabic In design circles, the abundantly romantic rooms of Renzo Mongiardino still retain the power to ignite something close to aesthetic fervour. Born in 1916, the Genoese architect (who studied in Milan alongside Gio Ponti) first established a career in set-making; he then applied the tools of the stage and screen to interiors for an international roll call of clients that included the Rothschilds and the Hearsts, Valentino and Versace. It\u2019s a testament to their timeless appeal that, more than 25 years after his death, a remarkable number of Mongiardino\u2019s residences remain intact. The lion\u2019s share are in Italy, a place where continuity trumps desire for change.\u00a0\u201cHe was all about craftsmanship,\u201d says Martina Mondadori, the editor-in-chief and founder of interiors magazine Cabana. Her late mother, Paola Zanussi, was a close friend of Mongiardino\u2019s and in the 1970s commissioned him to create her perfectly formed apartment in the historical centre of Milan. Today, Mondadori is preparing to open the entirely preserved home, known as Casa Cabana, to the public for the first time.\u00a0For the Salone del Mobile in April, the apartment will host an exhibition of newly commissioned artist-made objects and furniture. \u201cThe intention is to create a vibrant dialogue between the pieces and the place,\u201d says Mondadori of the show that is being curated by the upstate New York-based writer, basket weaver and veteran magazine editor Deborah Needleman. It is a chance to spotlight hand-craft skills \u2014 and also to reassess Mongiardino\u2019s virtuoso style through the prism of contemporary practitioners.\u00a0\u201cMongiardino used the apartment as a place to experiment with decorative techniques,\u201d says Mondadori, likening the devoted troupe of artisans who followed him across the world, from project to project, to a Renaissance-style bottega, where craft skills were handed down from master to apprentice. \u201cThis deep connection to the artisans meant that his houses were all very different from one another.\u201d Instead of buying fabrics or wall coverings by the metre, he would commission entirely bespoke decor \u2014 much to the financial frustration of clients.\u00a0At Casa Cabana, the space is layered with the handmade and intricately imagined details for which Mongiardino is so revered. The sitting room\u2019s botanical wall panels were hand-painted by the postwar Italian artist Romolo Paganelli, in a motif informed by the altarpiece of a 17th-century Milanese church. The room\u2019s faux marble fireplace is assiduously rendered from reverse painted glass. In what was once a long featureless corridor, an enfilade of faux marquetry archways creates a series of small, all-encompassing spaces. For both Mondadori and Needleman \u2014 who have been friends for close to a decade \u2014 these painterly effects are less of an attempt at trompe l\u2019oeil trickery, more of an entreaty to look closer and appreciate the artistry.\u00a0\u201cIt\u2019s such a complete world,\u201d says Needleman. \u201cEvery surface, every object, every texture has been really thought through and resolved in a way that\u2019s about as close to perfect as any place I\u2019ve ever seen.\u201d As an exhibition space, it\u2019s the antithesis of a white-walled gallery. Therein lies both the charm and the greatest challenge: how to integrate new site-specific works within this wholly conceived wunderkammer.\u00a0First-time curator Needleman\u2019s solution was to pull together a group of seven artists whose reverence for materials and research-led practice is simpatico with Mongiardino\u2019s. There are ceramics by Peter Schlesinger and Sophie Wilson; leatherwork by South Korean artisan Dahyeon Yoo; and from British artist Sophie Coryndon, a series of finely carved, cast and gilded butterfly sculptures. Employing a gold-work technique that imitates the gilt embroidery of ecclesiastical robes, they will be set against the apartment\u2019s pietra dura walls.\u201cWhen I first met Sophie, she told me that as a craftsperson, you don\u2019t do it to make a living, you do it to make a life,\u201d says Needleman. It\u2019s a sentiment mirrored in Needleman\u2019s own move into making, which began in 2016 after seeing a film featuring the East Sussex-based basket weaver Annemarie O\u2019Sullivan. \u201cIt hit me like a lightning bolt,\u201d she says. \u201cThis is the life I want.\u201dThe show\u2019s title, Speak, Memory: A Conversation Across Time, borrows from the memoirs of Vladimir Nabokov, which conjure his childhood in Tsarist Russia. \u201cTo me, he was expressing through prose what Mongiardino expresses through space,\u201d says Needleman. \u201cThey are both poetic acts of imagination that can dissolve our sense of time as linear. When you\u2019re in the apartment you could be in the 19th or the 20th century.\u201d It\u2019s this sense of disorientation that Needleman hopes to amplify. \u201cIf people walk in and feel as though they don\u2019t know where they are, I\u2019ll be happy,\u201d she says.\u00a0\u00a0Another exhibitor is the Los Angeles sculptor James Cherry, whose ethereal, organic lighting is forged from a beguiling array of materials, from twigs foraged from the forest floor to recycled fabric, all treated with a specially developed resin recipe. These will be displayed alongside furniture from Green River Project, the dynamic, art-led American duo of Aaron Aujla and Ben Bloomstein, who have conceived a sofa, armchairs and coffee table with the same visual sorcery favoured by Mongiardino. What looks like burr is in fact plywood, treated with a complex, if-DIY, oxidation process involving rusty metals, workshop debris, tea stains and sunlight. All their designs are accessorised with cushions and textiles contributed by Aujla\u2019s wife, Emily Bode, of the fashion line, Bode.\u00a0For Mondadori \u2014 whose mother lived in the Milan apartment until her death in 2021 \u2014 the show is particularly poignant. It was only after moving away from her childhood home to England that she really understood the beauty of this intensely personal place. \u201cIt planted the first seeds of Cabana,\u201d she says of the print publication, which has grown since its 2014 inception into a homeware brand offering decorative objects, furniture, antiques and books. The collection ranges from Argentine tablecloths and Umbrian dinner plates to ornate Louis XIII bronze candelabras \u2014 all reflecting Mondadori\u2019s taste for the worldly, folkish, historic, and richly adorned. Her aesthetic has evolved into a formidable force within the world of design. The exhibition also highlights Cabana\u2019s next act: the development of The Atlas of Craftsmanship, a global directory of artisan makers \u2014 working in everything from ceramics to leather to weaving to woodwork \u2014 and a decorative arts compendium. \u201cEvery object has a story to tell,\u201d says Mondadori of her craft-led mission to illuminate often anonymous creations \u2014 pieces whose significance stretches beyond the aesthetic to ignite a cross-pollination of traditions and cultures. \u201cWhen objects travel, ideas travel too,\u201d she adds.Back in Milan during Design Week, when the city takes on the atmosphere of one big village, Casa Cabana\u2019s unveiling promises to be enacted with a generous air of Milanese informality. \u201cIf you want to sit on the sofa,\u201d says Mondadori, \u201cplease, go ahead \u2014 make yourself comfortable.\u201dSpeak, Memory: A Conversation across Time; April 9-11. Booking opens at 9am CET on March 29 at cabanamagazine.comFind out about our latest stories first \u2014 follow @ft_houseandhome on Instagram\u00a0\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic In design circles, the abundantly romantic rooms of Renzo Mongiardino still retain the power to ignite something close to aesthetic fervour. Born in 1916, the Genoese architect (who studied in Milan alongside Gio Ponti) first established a career in set-making; he then applied the<\/p>\n","protected":false},"author":1,"featured_media":254364,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-254363","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/254363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=254363"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/254363\/revisions"}],"predecessor-version":[{"id":254365,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/254363\/revisions\/254365"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/254364"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=254363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=254363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=254363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}