Un quadro chiamato Arco della Pace
The history of the Arch of Peace is curiously linked to the marriage celebrated in 1806 between Eugène de Beauharnais, Napoleon’s adopted son, and Augusta of Bavaria. In fact, to celebrate the newlyweds, the city authorities hastily erected an arch, assembled with canvas and wood (placed in the current Corso Venezia), by the architect Luigi Cagnola. The unexpected success of the work convinced the authorities to consider a more suitable place capable of hosting a solemn marble monument in Milan.
In 1807, in the midst of Napoleonic excitement, Cagnola began the work on the new Arch, at the center of Piazza Sempione. However, steps away from completing the work, the Kingdom of Italy fell into the hands of the Austrians, who were tasked with finishing the work.
The monument, inaugurated in 1838 in the presence of Ferdinand I, Emperor of Austria and King of Lombardy-Venetia, carries an anecdote: as a slight to the French, the horses of the Arch, composing the imposing “Peace Quadriga,” were rotated 180 degrees so that their hindquarters faced towards Paris…
A few meters from the square, where the gaze hesitates between one of the best examples of neoclassical architecture and Parco Sempione, inside an elegant early 20th-century building, there is an apartment (approximately 180 square meters), with an invasive renovation intervention explained by a necessary premise: the client expressed the desire to envelop all the rooms with a particularly elegant “Fendi-style” touch, carefully balancing tradition and innovation, craftsmanship and free creative expression.
To satisfy the request and make the environment captivating and welcoming, dark, almost burnt, tones were chosen, capable of creating a refined atmosphere. The work was organized like a tailor’s boutique where every single element was tied to each other to give more charm to the house: a perfect fusion, leaving nothing to chance, between furniture and accessories, curtains, and coverings.
The role played by artisanal carpentry furniture was undoubtedly crucial. The impactful result was achieved through cuts that characterized the style: conceived at 30-45° to offer suspended geometric decorations between refinement, quality, and aesthetic sophistication enhanced by the presence of marble surfaces.
To enhance aesthetic continuity, it was important to maintain a symbiotic relationship between the living area and kitchen to provide spaciousness, verticality, light, and perspective to the rooms. This was achieved by gently painting the wonderful exposed beams (original national walnut from the period) with strokes of white and by utilizing the exceptional versatility of the Rimadesio “Velaria” panels.
In this game of spaces and atmospheres, the dining table, placed in front of the French door, delivers the strongest emotions and captivates. Supported by a play of perspectives where the interior ideally merges with the exterior, we envisioned a convivial moment, a new idea of hospitality dedicated by the homeowner to friends and loved ones. We are not in a movie, yet it feels like a screenplay.
Just think, with the help of photographs, of the comfortable warmth emanating from the house. A special, unique sensation emerges autonomously, framed in the grandeur represented by the Arch of Peace. While the sounds of nightlife arrive from the street, the vibrant heart of a city that makes Milan the undisputed capital of social life.
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