The studio

Restoring, therefore Designing

Although in recent years restoration has suffered from the excesses of over-interpretation, and, even if, when we refer to monuments, we are close to a romantic interpretation of the past, the substantial fact remains that with the contemporary complexity of architectural documents (and of their artistic complements), this activity has an intrinsic nobility that makes it coveted by many.
Restoration is indeed the multiplier, from the philological and planning point of view, in the sense that it is the acknowledgement (and ascertainment) in corpore vili of the architectural structure is the only way to transfer its dating, the chronology of its elements and even the attribution of the work's patronage.
We should speak of the fascinating and inexhaustible record of restoration in confidence with the city, as the real and unique moment of the critical acknowledgement described by Cesare Brandi.
Since restoration and conservation propose a new use and the inclusion of new functions in social life, the corollary of this is the planning function: not in the course and brutal sense that we often witness, taking advantage of an existing structure to alter it with an exercise in composition, but rather of a measured dialogue, in which the new addition is always and only demanded by the new function, respecting the integrity of the monument. This is one of the forms of the “happiness of the architect” that makes this (in spite of everything) one of the most intriguing professions that man is able to express. It is complex profession, one that requires vast knowledge, the capacity to synthesize, the love of man and of his social relations: a positive attitude that, before being projected onto the urban environment, must be a bearing philosophy in one’s own life.

Who we are:

His collaboration with the Studio di Architettura began during his university years, with the surveying of the Parco di Celle in Pistoia (1987), the survey of the ex-factory Doccia in Sesto Fiorentino (1988), and the competition for the restoration of the Medici ex-stables at Poggio a Caiano (1991).
In 1991, with the Institute of Geodesy, Topography and Photogrammetry of the Engineering Faculty of Pisa, he took part in an experience of stereophotogrammetric restitution under the guidance of Professor Walter Ferri.
In 1992 he graduated with honors with the Professor Loris Macci. Together with Paolo Barberis and Alessandro Sordi and in collaboration with University of Florence’s Educational Television Center, he developed for his graduate thesis an experimental video entitled “Virtual Architecture for an International Center of Restoration in Florence.” The thesis was awarded the Italo Gamberini Graduate Award, and the video was projected to the International Architecture Film Festival of Bordeaux.
In 1992 he began professional collaboration with the studio. In 1994 he entered to be a part of the Professional Association, for which he planned the interior and the arrangements for the new studio on via Romana.
From 1992 to 1997 he worked as assistant to Professor Guido Spezza for the course Distributive Characters of Buildings in the Faculty of Architecture in Florence, assisting during all exam sessions. During the Academic Year 1994/1995 he was assistant supervisor to some of Professor Spezza's final thesis dissertations.
From 1997 to 2000 he was in charge of the module Typological and Morphological Aspects of Architecture, Composition Laboratory II, in the Architecture Faculty of Florence.
His first experience in supervising restoration work was in Florence, the reorganization of the apse of Santa Croce(1993), the restorations of  Palazzo degli Artisti on viale Milton (1994), of Palazzo Castiglioni on via del Giglio (1995-1996), and of the Ex-Neuber store on via Strozzi (1996), of the facades and of the stone work of the Palazzo Ricci in Pescia (1996-1997), and of the Tower of Catilina in Pistoia (1996-1998). With Gennaro Tampone he was responsible for the project and supervised the restoration work of the wood roofing structures of the ex-Church of S. Monaca in Florence (1997-1998). He coordinated and directed the restorations of the Villa and Garzoni Gardens in Collodi (Pescia 2004-2007).
On the theme of the despondency of the architectural barriers, he has developed in recent years a  research project through seminars, meetings and publications, including the manual “Project Accessibility,” published by Meridiana.
He is the coordinator of all planning activity of the Studio Associato.