Fashion house. Nanda Vigo and the house museum for Remo Brindisi

Fashion house. Nanda Vigo and the house museum for Remo Brindisi

Fashion house. Nanda Vigo and the house museum for Remo Brindisi

Nanda Vigo: an all-inclusive work for the house-museum of Remo Brindisi

Enough to ask those of his generation, the aspiring artists who frequented the bars of Brera at all hours – all distinct today and mostly established in their eighties. The answer was unanimous: “La Nanda? A badass. ” This has always been the case: resolute, direct, without hair on the tongue, confident of her work, an iron memory. All the result of training in a one-way world of male art. Moreover, he knew how to defend himself: just ask Ugo La Pietra how regularly (he blamed) Nanda greeted him with a nice “punch in the balls” (ipse dixit). Just the age had softened it a little. An artist who was not in any precise definition, which Casa Fashion has often hosted on its pages.

It also happened in 2011 when a service was published on the house-museum that Vigo had designed for the painter Remo Brindisi at Lido di Spina. An apparently impossible union: she by avant-garde vocation, he an affirmed exponent of the figurative school. As you will see in the report that we propose to you again, the relationship worked: Nanda knew how to deal with and if anything impose itself on her clients. Just look at the collection he collected for Brindisi, an excellent and careful excursus on the best of the most avant-garde Italian art of the twentieth century.

One more note: the white house, all tiled, cannot fail to remember the famous and contemporary villa “Lo Scarabeo under the leaf”, which Nanda Vigo he created for the collector Giobatta Meneguzzo in Malo, Vicenza, varying a project by Gio Ponti (published on Domus) in the same span of years between the late 60s and early 70s. Less remembered, but sooner then we will be able to retrace the story, the apartment Milanese by the collector Piero Fedeli. Nanda had initially designed it all black, lit only by candles says the epic, only to then redo it all tiled white.
(Paolo Lavezzari)

Nanda Vigo in the “conversation pool”

© Marco Caselli Nirmal

Too much architect for artistic criticism and too much artist for architectural criticism, Nanda Vigo, who tried to make aall-encompassing workhas been halved. “
“Living”, 2006.

With these words Barbara Pastor synthesized the complex poetics and the internal struggle between disciplines and approaches that mark the work of one of the first art designers of the second Italian twentieth century.
Vigo herself thus defines her three design moments: the sixties and seventies, the “linear-esoteric” period; eighties and nineties, the period “Baroque-play”; the third, current, is that of the“Cosmogonic alphabet”, in which he reinterprets “ancient signs and gestures for those who must measure themselves daily with a sublime, threatening nature”.
In his Milanese studio there are all traces of those periods, confused between art and life.

In a corner of the living room, between the paintings, a small Venetian view of Remo Brindisi, a synthesis of that link between Vigo and the artist, who in the early sixties asked her to build a villa. Brindisi, a realist painter, commissioned her to imagine a building in which atelier and home lived together, where the synthesis of the functions were harmonious: a space to host a collection, to receive friends, to work. At the beginning the project was conceived for Milan, but after the love at first sight between the painter and the Lido di Spina – it reminded him of the landscapes frequented during the draft -, it is “rewritten” for the new lot.

Toast he wanted to live in what he called the “living museum”: a holiday home for his large family, open, however, so that guests and friends could enjoy the contemporary art collection, which was implemented by purchases also suggested by Vigo.
The coexistence of works from Brindisi alongside those of authors such as Marotta, Tomato, Isgrò, Somaini, Balla, Cappello, Kounellis aimed to make the house a cultural project dedicated to the interdependence and integration of the arts. At the beginning, the villa had to be on two floors: one public, for the collection, the other private, for the family. Brindisi then opted for a monumental solution in which to find the echo of New York’s Guggenheim by Frank Lloyd Wright. A choice that created frictions between the master and the architect, so much so that the project was only completed between 1970 and 1971.

«It is important», Vigo points out today, «underline the terms “home” and “museum”, which also figuratively define the volumetric functions of the two distinct and intersected bodies. The central volume – a twelve-meter cylinder – constitutes the core and the sorting routes on the various floors which, in circular corridors, house the collection, the picture galleries. The other body, which is the housing part, intersects without interfering in the functions of the representative areas “. The cylindrical compartment, the connector heart of the house, houses the Conversation pool, a circular seating system covered with plush; a long steel handrail-sculpture follows the plastic profile of the stairs; natural light, shielded by striped glass, bounces off the mirrors and illuminates every corner, also thanks to the internal coating in white klinker tiles with calibrated joints, also chosen because they are resistant to sand erosion and sea wind. From the outside you can see the domestic side of the house monolithic, while the public spaces and the terrace are dynamic and aggregated. The large cut near the entrance is the cause of the breach that Nanda Vigo invented, at the end of the building, to allow the “sgraffito” of Lucio Fontana that Brindisi saved from the destruction of a Milanese printing house.

Remo Brindisi in his study together with some friends and guests

© Marco Caselli Nirmal

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