On the morning of the 17^th November 2014, in the “Piccolo Teatro Grasso”(Milan) the Pavilion with whom Coca-Cola will be in Expo 2015, was presented. For this occasion there were Giuseppe Sala, Managing Director for Expo 2015 and Kim Alexander, General Manager Coca-Cola for Expo 2015.

The Coca-Cola Pavilion will be placed close to the Lake Arena and it is designed by Giampiero Peia and the architectural studio Peia Associati with the collaboration of Brand Experience agency psLIVE. The Pavilion, a box of 35 x 20 and 12 meters high, has a total area of ​​1000 square meters divided on two floors and  a double height square. The building is  composed by modular elements and is made with sustainable, recyclable and
reusable materials. On the exterior walls, made out of wood and glass, the famous Coca-Cola logo and the silhouettes contour, the historic glass bottle of Coca-Cola, are placed. Giant video images and hanging waterfalls stand above the entry and the exit of the building in order to create a play of light and transparency, creating a highly expressive external image.

A recyclable and eco-friendly Pavilion, with an eye to the “after – Expo”.
The project of the Pavilion respects the strictest parameters of sustainability with the use of innovative technical and technological solutions.  The shape and the cladding are defined in order to have a eco-friendly building which has a passive cooling system. It creates a natural ventilation ensuring both significant energy savings and a refreshing environment for the visitors.

Moreover the Pavilion has a green roof with a very low water consumption providing excellent thermal insulation for the interior and the use of equipment , sensors, and LED lighting allow further energy savings.
The issue of sustainability is inherent in the general concept of the project, which will have a second life, indeed at the end of the Event, the  Coca- Cola Pavilion will be dismantled and rebuilt to become a covered space where physical activity and sport take place for the benefit of the local community.

The main concept is the optimization of the horizontal lake view. Wooden louvers provide privacy for the habitants without spoiling the view. The public walkways are provided on the backside for less movement, saving the precious lake view towards the famous “Borromeo garden islands”.
The intention to utilize the orientation of the houses in San Michele street and to mediate with the line of the new interior road, determine a partial re-alignement of the facades the street and the new internal road, accepting the natural alignements of  the lot and of the pre-existing built scheme.
This choice allows a wider exposure to the sun for all day areas and most of the bedrooms, which face south, in all cases towards the lake. The volumetric fragmentation breaks the unity of the front elevations and intruduces a construction logic that adapts to the pre-existing built scheme; this follows the indications of the Maste Plan that requires variety in the front elevations. The buildings of the residential complex will be constructed following low emission criteria.
The structural challenge was to match the column grids of the residential levels with the car park and boat park areas in the levels under neath.

The complex building appears as a small village developed historically around a sixth century palace. The three different prior objectives of design intervention are:1. To identify the location for the office headquarters of TASM (to verify the feasibility of retaining the main body of attics)2. Developing the potential accommodation of the complex monument, also for summer events, through two levels of intervention to be carried out at different times (by 2006 construction of a parking lot and aimed at allowing the use of the walled garden equipped like an amphitheater for concerts and shows; in the future to create a conference room for about 300 people, as well as a hotel for 50-60 guests)3. Intervene on the existing buildings inside the property in order to block the relentless degradation and recover to new uses.

In the second edition the subject is the agonism of the race; it  finds its expression in the layout of the vehicles, which mirrors the starting grid of a car race.
Sensorial and perspective aspects of the visitor are boosted by the extreme characteristics of the project, which adapts elegance to stand apart from the general banality of expo projects and from the mediatic speculation of the expo event.
The connection to the work of contemporary minimalistic architects and artists (of which the ”boxes” of Donald Judd are the archetype), that are nowadays known by the public, is still present.
But here we are introducing a gigantic ethereal and organic element: a cloud of light is the ceiling of the stand.
The memory of the visitor will, consciously or unconsciously, be impressed by this gigantic element, which floats, almost weightless, above the stand; and thus the space becomes the event itself.

The Mediateca of Fidenza, an old town close to Parma, is a new cultural institution that hosts, in a 16th century palace, the town public library, a reception area and youth info centre, reading room and the famous local painter collection “Emanuelli gallery”, laboratories for digital media, offices, ancient books and prints archives.
The renovation of the inner court with a new bookshop and cafeteria complete the programme.
The court is seen as highly important for the connection with ”Palace of Culture and Arts” and also for the symbolic and urban value of Orsoline Palace with the nearby University Campus, re-establishing this place in relation to other public spaces expressing a higher level of social and cultural role, which the Mediateca represents in the town as civic value in the axis of the town centre.

The main fundamental theme is the concept of “Central Park” – the heart of the system represents more diffused and effective paragon of New York Central Park that functions as the lungs of the city.
To simplify the concept following the “modulor of Le Corbusier”. That defines a human as metaphor in the master plan. The site of the project is treated as the “Heart of Bicocca”.
Here the central axis represents graphically the footpath as an alternative solution to roads that penetrates in the blocks passing through the passages connecting all the courtyards, gardens and hypogeal squares ending in the New Academy Plaza.
The project is the focal point of footpath because it is a necessity to fulfil the missing connection between the new development with the public services and multiplex with the new park.
The massive green of the park is defined in the urban sides by roads and public commercial ribbon from which the residential tower rises.
The towers have a double skin, the external skin hosts climbing greenery and allows a different shape for each tower without affecting the clever prefabricated structural system.

The project embraces the possibility of creating an alternative structure to that of commercial shopping centers, which enhances the differentiation of each operator and producer at the same time providing a unified vision and a reference to a philosophy of production and consumption more aware and high quality content and uniqueness.
the great coverage and the presence of water not only bring benefit climate and visual, but it is mainly an abstraction and a metaphorical reference to the landscape of these lands straddling the irrigated plains and geometricized populated with rows of poplars and courses ‘water for crops and hilly rolling hills of Salsomaggiore. In summer, large pergola, in addition to the pleasant natural shade, will create branches in the fallout of the Virginia creeper, a large wood “reversed”, which reflected in pools of water, reconstitute its genesis from the curves of the hills .

The three floor building is placed into an extraordinary panorama, which offered a lot of potential; placed at a high altitude of the slope of a mountain, in an area rich in vegetation, it stretches towards the horizon, where the mountains meet the water of the lake.
The project develops around the relation with the surroundings; following a layout of spaces and the design of new wide openings, it generates a new delicate relationship between the domestic interior and the outside panorama.
The large openings on the façade have a free composition, like Giò Ponti, the Italian modernist master taught.
The outside becomes a fundamental element to continuously relate to.
The double height space of the living room and the indoor lap pool of the private SPA in the level below are the core of the structure.
Big sliding glass panels  provide real continuous flow between inside and outside.

Proposed in the versions natural wood/steel or painted wood/corian, materials that reflect light, and therefore convey a feeling of spacious luminosity.

Bookcase made of horizontal shelves and upright pieces of various heights, all made of wood painted with a brushed-finish gloss paint. Variable sizes.
Available with or without LED lighting system.

Considering the required facilities and area restrictions, our idea was to propose a compact massive building . Compact, to concentrate all facilities close to each other and massive so as to utilize the maximum height allowed. The contour lines are another major reason for the orientation of the hotel, in order to put two floors of the mall and parking underground to not exceed the area limits and restrictions and to avoid any kind of inconveniences to achieve the permits.

The range is proposed in the versions natural wood/steel or lacquered wood/corian, materials that reflect light, thus conveying a feeling of spacious luminosity.
“Aida” is also the result of a new way of designing the home, aimed at creating a new balance between the living room and the area meant for the kitchen; the latter is turned into a place able to effectively support the need for a practical work space and interpret the aesthetic sense with a special focus that adds taste and freshness to our homes.
This is why it offers the option of concealing the household appliances behind pocket doors, an innovative idea already applied to the Vesta range, and of raising or lowering the top of the island depending on the possible use of chairs or stools.

Founded from a factory previously, located in an area of the suburbs of Milan that now belongs to the “centre”, this industrial laboratory is renovated and converted into a new space for work.  Flexibility and the possibility of reconfiguration are the concepts used to shape an office which plays with light volumes and transparent surfaces.
A few but important design objects stand up in a sculptural way; they become part of the design, that draws a space highlighted by interlocking parts, views and perspectives. They all contribute to the shapes of working and meeting spaces which re-invent the architecture of factories.

As the studio developed a “visible” experience in the sector of designing projects related to hotels and residences or touristic hotels of particular nature, in relation to the emerging implications that these issues have with the mobility and infrastructure, declaring their interest, in pragmatic mode and based on the possibility of realistic  applications, to address the issue specifically of hotels for the “highway travelers” (the theme is obviously defined with most appropriate and appealing formulas)

TAD is a multi-brand concept store where fashion, furniture design, accessories, books, music, beauty, food and beverages live under the same lifestyle philosophy.
After the opening in Rome, in Milan TAD tried to interpret the Milanese character.
Then design of the vertical space  was transformed into a characteristic element following the idea of the tree that has its roots in the bar area at  underground level and spans his trunk and branches through the other 3 floors and the architectural elements such as the elevator and staircases.
The vertical character was furthermore emphasized with the extension of volume and the construction of a new lounge at the top level, which was designed with wide glass panels looking into the city.
Also in this location, TAD is a workshop for innovative design, finishing and technology.

Suspended Elements such as slabs and bridge volumes with lattice structures between the blades, host the work spaces and links/connections with entirely transparent fronts and shielded by blinds.
These volumes provide communication, not only on the ground floor but also between two buildings belonging to the same company.
The entrance hall on the ground floor of the blades can have the longitudinal parts of the façade in double-height, thereby enlarging the visual flow between inside and outside both in the Entrance level of the courtyard as well as the level of Roof plan, of the “piazza” superior to the base containing the stores, laboratories and shops.
The offices especially of the lower floors can enjoy the view to the gardens below, and to the water ponds in the internal courtyard. The water reflections are reflected on the inner faces of the “flap” the front panel openings of the façade.

The project expresses a concept of identity between the Maybach and the character of the setting that is represented through an analogical transfer of content:Elegance, precision, sensory pleasure, advanced technology and power.In one word, ‘DESIGN’ excellence with a concept that associates transversally “lifestyle, fashion, architecture, design and interior design.”The project is also conceptualized on the principle of flexibility, modularity and capacity to adapt to different situations: atelier-showrooms, dealer- showrooms, exhibition stands, promotional displays at commercial centers, airports and boat clubs.

Il progetto di questa disposizione esprime un’idea molto chiara e forte: lo spazio diventa la metafora della metropoli contemporanea e  futura, diventa una rappresentazione della filosofia della Chrysler Jeep Dodge.
Un altro aspetto da prendere in considerazione è la museografia contemporanea.
L’esposizione dei veicoli è anche una mostra temporanea di progettazione, l’installazione di opere d’arte e un laboratorio enorme di foto ”still life”.
La grande banca fotografia sospesa sottolinea l’armonia delle linee e l’attenzione ai dettagli dei veicoli. In realtà fanno parte di un sistema modulare geometrico. Questo sistema è organizzato in modo apparentemente casuale, attraverso la quale abbiamo raggiunto la massima espressione.
Gli ingredienti della scena sono i volumi puri e contrastati, vetro, luce, immagini in movimento, in acciaio nero e argento, insieme a oggetti simbolici di design moderno e contemporaneo.
“Tatami Elettrici”, una sorta di tappeto di luce incassato bilancia  le scatole di luce sospesa che “lavano” l’intero corpo della vettura con la luce, senza il fastidioso riflesso dei tipici riflettori.
Un “ponte-ristorante” e terrazze ospitano il salone pieno di mobili di design italiano.
Vetro speciale, a cristalli liquidi con gas interno, si trasforma da trasparente a opaco e uno schermo di 12 metri di proiezione posteriore.