Photography/ Alberto Strada.
All images courtesy of SIX GALLERY unless stated otherwise.
Like a model on the fashion runway - beautiful, avant-garde, but also cold, no real sense, Milan in the fashion industry position with New York, London, Paris, sitting on the same level, like the pride of the sky has everything, look at the eye, lead The world is full of tides, but if you look back at different endpoints, you will be alienated and confused. This is a prosperous place with a thousand-year history. It was also the place where the plague, plague and carpet bombings were carried out during the 15th and 17th centuries and during World War II. As a flower that is jointly fed by destruction and glory, Milan interweaves an extreme collision, gathering history, humanities, ethnicity, religion, art, philosophy, and combining it into a difficult language—沧雅晦, 泠凝哲美, cum The tip of the era, the stagnation of the stagnation.
Since becoming the capital of the Roman Empire in the first century AD, Milan has been a populous economic and cultural hub in the history of Europe. During the Renaissance, it was the world of the House of Sforza; Leonardo da Vinci ) with Donato. Donato Bramante has been honoured here with outstanding works. Then, because of the political alliance between the Sforzal family and the Medici family, Milan's architectural style was also greatly affected by Filippo. The influence of Filippo Brunelleschi. It was not until the Milan decree issued in 313 that the Christianity was finally legalized. Since then, many magnificent churches and monasteries have been built in Milan, including the place where Da Vinci’s famous painting “The Last Supper” is located. (Santa Maria delle Grazie).
In such a city, the couples David Lopez Quincoces and Fanny Bauer Grung inherit the creative philosophy of the legendary architect Piero Lissoni: “Humanistic spirit, simple and simple, pure material, conforming to the natural endowment of materials”; in 2009 Build their own construction company" Quincoces-Dragò In 2017, I designed a composite space from the 16th century monastery.SIX GALLERY"." The SIX GALLERY composite space project comes from the ideas of Mauro Orlandelli and Samuele Savio, the founder and artistic director of the design consultancy FOREST; in addition to the Quincoces-Dragò couple, they also invite landscape architect Irene Cozzanti and chef Sergio Carnevale to collaborate. With design as the classic and art as the weft, a combination of greenhouses, taverns and design galleries, far beyond the space of its positioning coordinates, is easy to be born.
"We want everything to be there from the very beginning, and to live a long history here." - Quincoces-Dragò
"6" is a perfect number for the promoter Mauro Orlandelli. SIX, located in the Canal District of Milan, is named after a combination of restaurants, bars, landscape design, furniture displays, art galleries and photography venues. In terms of space design, husband and wife David Lopez Quincoces and Fanny Bauer Grung retained the slate of the 16th century and faded the walls originally used to cover the brick walls, allowing the 16th century brickwork to be fully imaged; The gray tone of the matte surface makes the brick wall into a low-key but solemn historical canvas, setting off the tropical plants, flower bonsai and the design works from the masters in the space, adding space as a multi-tone to the photography scene.
The modern space built around the courtyard, the entrance is a huge arch; walking into it and looking up, only to find an elegant skylight on the ceiling. With black grid-shaped iron windows, rough and bare lines and air conditioners, it adds a touch of modern industrial style to the scenes of classical temperament, and unexpectedly collides with a strange multi-level space-time atmosphere. The indoor green planting is also a major feature in the space design. The huge palm plant and the air-burning monstera sprinkle the bohemian charm of the ancient religious place, and subtly let The interior of the house is connected to the courtyard space.
The furniture selected by SIX GALLERY focuses on natural materials and simple and classic design. With the overall space in mind, you can easily feel the perfect balance between simplicity and modernity, oldness and technology. From the natural color wooden chair designed by the godfather Gio Ponti of the Italian design world after the Second World War, the paper lanterns of the Japanese-American artist Isamu Noguchi who studied ink and garden with Qi Baishi, and then the father of functionalism in the 20th century. French architect Le Corbusier and Swiss architect Pierre Jeanneret designed the chair for the Chandigarh case in India, as well as the German lighting designer Ingo Maurer glass lamp with the name "light poet"... There is a big, but low-key, harmonious blend of this, quietly revealing the aesthetic style that SIX GALLERY insists on.
"Our intention is not to open an expensive gallery. Milan does not lack expensive galleries. What we want to do is create a space for our generation that has no walls and is free to move. People just spend With a little more money, you can get valuable feedback. Just like you can freely place an unnamed sofa next to Jeanneret's chair - everything is possible in SIX. ——Quincoces-Dragò
But the main purpose of SIX GALLERY is not to establish barriers for the rich and the poor, nor to benefit the wealthy and to keep young people out of the door. This place will be open to everyone, and the value of design will end. Return to design. Among them, you will find that Gio Ponti's chair has a sofa designed by an unknown designer from the 1950s, and is re-paved with purple velvet; you can also see Vietnamese vases and carpets from the nomads of the Artest Mountains. I believe that in the near future, the entry of modern furniture from all parties will light up the space. In this scene spanning time and space, a wonderful dialogue about design philosophical and historical contours.