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BUILDING |
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Casa Malaparte [Casa come me]
Malaparte House [A House Like Me] |
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DESIGNER |
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LOCATION |
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| Continent |
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| Nation |
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| Region |
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| Province |
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| Town |
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| Address |
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MAP |
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TYPOLOGY |
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ARCHITECTURE | Residential buildings
Detached, semi-detached houses and villas
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CHRONOLOGY |
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Project |
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1938
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Realisation |
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1943 |
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AWARDS |
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| 1994 |
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Bene di interesse culturale
Soprintendenza per i Beni Architettonici Paesaggistici Storici Artistici ed Etnoantropologici per Napoli e provincia |
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THE BUILDING IN CINEMA |
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| Title |
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| Directed by |
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| Nationality |
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| Year of production |
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| Cast |
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| Marcello Mastroianni, Burt Lancaster, Claudia Cardinale, Ken Marshall |
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| Building's role |
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| Title |
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| Directed by |
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| Cast |
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| Brigitte Bardot, Michel Piccoli, Jack Palance, Giorgia Moll, Fritz Lang |
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| Building's role |
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THE BUILDING IN ADVERTISING |
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| Product |
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Uomo - The Ingredients |
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| Company |
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| Directed by |
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| Music |
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| Testimonial |
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| Aired |
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| Building's role |
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| Product |
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Ermenegildo Zegna fragrances UOMO |
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| Company |
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| Directed by |
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| Music |
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| Testimonial |
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| Aired |
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| Building's role |
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| Product |
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Spring 18 |
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| Company |
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| Directed by |
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| Music |
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| Testimonial |
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| Kate Moss, Jamie Bochert, Sid & Noe Martin |
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| Aired |
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| Building's role |
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| Product |
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Cœur Battant |
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| Company |
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| Agency |
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| Iconoclast Paris [producer: Mourad Beldekkar, creative director: Simon Schmitt] |
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| Directed by |
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| Photography |
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| Music |
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| "Loud Places" by Jamie xx, from the album "In Colour" [singer: Romy Madley Croft of The xx] |
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| Testimonial |
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| Aired |
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| Building's role |
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BIBILIOGRAPHIC REFERENCES |
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Cherubino Gambardella, Le Malaparte impossibili. Una casa, mille architetture / One house, one thousand architectures, LetteraVentidue Edizioni, Siracusa 2017 |
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| Mario Ferrari, Adalberto Libera. Casa Malaparte a Capri 1938-1942, Ilios, 2010 |
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| Nicoletta Setola, "Casa Malaparte: il cantiere, le tecnologie, i materiali", Costruire in laterizio 124, luglio-agosto 2008 [U.S.A. University], "Ricerca" pp. 56-61 |
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| Domus 866, gennaio/january 2004, "Calendario" p. 1 |
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| AD Architectural Digest. Le più belle case del mondo 222, novembre 1999 [Millennium!], pp. 416-417 |
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| Gianni Pettena, Casa Malaparte Capri, Le Lettere, Firenze 1999 |
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| Michael McDonough, Malaparte. A House Like Me, Clarkson/Potter, New York 1999 |
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"Casa Malaparte", Casabella 648, settembre/september 1997, "Architettura e progetti", pp. 6-27
Bruce Chatwin, "Tra le rovine", Casabella 648, settembre/september 1997, "Architettura e progetti", pp. 6-10 (6-27)
"La conservazione di casa Malaparte", Casabella 648, settembre/september 1997, "Architettura e progetti", pp. 12-27 (6-27)
Chiara Baglione, "Come preservare «la più moderna casa di Capri»: un problema aperto", Casabella 648, settembre/september 1997, "Architettura e progetti", p. 12 (6-27)
Angelo Broggi, "Procedure per il restauro", Casabella 648, settembre/september 1997, "Architettura e progetti", pp. 14-19 (6-27)
Renata Codello, "Materiali e colori", Casabella 648, settembre/september 1997, "Architettura e progetti", pp. 20-21 (6-27)
Marida Talamona, "Nuovi documenti", Casabella 648, settembre/september 1997, "Architettura e progetti", pp. 22-27 (6-27) |
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| "Giallo Libera-Malaparte", L'Architettura, cronache e storia 443, settembre/september 1992, pp. 594-595 |
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| Marida Talamona, Casa Malaparte, Clup, Milano 1990 |
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 Vittorio Savi, "Orrifica, surrealistica. Casa Malaparte a capri e Adalberto Libera / Orphic, surrealistic. Casa Malaparte in Capri and Adalberto Libera", Lotus international 60, 1988/4 [Abitare nell'architettura / Living in Architecture], pp. 6-16 (6-31)
Joe Bostik, "La casa rilevata / The surveyed house", Lotus international 60, 1988/4 [Abitare nell'architettura / Living in architecture], pp. 18-31 (6-31) |
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| Giovanni Klaus Koenig, "Dialogando con l'acqua / Talking with water", Ottagono, giugno/june 1984, "I significati dell'acqua" p. 23 (18-33, 188-191) |
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| John Hejduk, "«Casa come me » / Cable from Milan", Domus 605, aprile/april 1980, pp. 8-13 |
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| Vieri Quilici, "Adalberto Libera. Razionalismo romano tra le due guerre / Roman rationalism between wars", Lotus international 16, settembre/september 1977, pp. 74-75 (55-87) |
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| Bruno Zevi, Spazî dell'architettura moderna, Einaudi, Torino 1973, tav. 339 [V. La vicenda italiana] |
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EXHIBITIONS |
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Casa Malaparte. Furniture, London, Gagosi an, 15 june / 19 september 2020
Gagosian is pleased to present new editions of furniture pieces from the legendary Casa Malaparte in Capri, Italy.
In 1937, renowned author Curzio Malaparte—born as Kurt Erich Suckert in 1898—purchased a plot of land overlooking the Tyrrhenian Sea. There, he supervised the construction of Casa Malaparte, his residence and architectural brainchild, to which he referred affectionately as “casa come me” (house like me). Designed in its entirety by Malaparte, from floor plan to furniture, the house blends classical and modernist influences, united under one roof with inimitable poetic drama.
From the curving white windbreak that arcs across its roof terrace to its deliberately secluded location atop a jutting promontory, Casa Malaparte embodies its maker’s renegade streak. Notorious for vacillating between religious and political ideological extremes, Malaparte was an active participant in the avant-garde artistic and literary circles of his time. After his death in 1957, the house lives on as an architectural masterwork and an inspirational platform for contemporary artists and designers.
For this special exhibition, Tommaso Rositani Suckert, Malaparte’s youngest descendant, has produced editions of the key pieces of furniture that grace the house to this day: a table, a bench, and a console. Manufactured in Italy, each piece comprises a simple, elegant solid walnut slab with supports in different materials. For the table, this is a pair of columns carved from solid pine in smooth, winding diagonal curves that accentuate the natural patterns of the wood grain; for the bench, the legs are composed of column capitals cut from Carrara marble; and for the console, they are made of tuff stone capitals. Each juxtaposes familiar motifs from the rich classical past of Malaparte’s native Italy with minimalistic modern forms.
In this transportive presentation, the Davies Street gallery will be adapted to resemble Casa Malaparte’s main room, a stone-floored salon with ocean vistas that famously features in Jean-Luc Godard’s 1963 film Contempt. Also on view will be a suite of Baroque-styled porcelain pieces formerly owned by Malaparte. These works, which include floral-studded mirrors and candelabras as well as freestanding sculptures, depict figures and allegorical scenes from classical mythology. Combining Malaparte’s captivating designs with this personal effects, the exhibition will pay homage to the life and spirit of one of the most complex and mysterious figures of the Italian avant-garde. |
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Peter Welz (video), Mise-en-scène – architectural portraits, Berlin, Deutsches Architektur Zentrum DAZ (Berlin-Mitte), 2 december 2017 / 4 february 2018 |
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ADDITIONS AND DIGRESSIONS |
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Festival International du Film
Cannes
11 - 22 Mai 2016 |
 The official poster for the 69th Festival de Cannes, taking place from 11 to 22 May and presided over by Australian director George Miller, was designed using stills from Jean-Luc Godard's film Contempt.
It's all there. The steps, the sea, the horizon: a man's ascent towards his dream, in a warm Mediterranean light that turns to gold. As an image it is reminiscent of a timeless quote used at the beginning of Contempt: "Cinema replaces our gaze with a world in harmony with our desires”.
And so it is Michel Piccoli who in 2016, from the roof of the famous villa designed by the writer Curzio Malaparte, will open the red carpet for the 69th Festival de Cannes. It's a symbolic choice, since this film about the making of a film - regarded by many as one of the finest ever made in CinemaScope (the Piccoli/Bardot pairing along with Fritz Lang, Raoul Coutard's cinematography, Georges Delerue's music, and so on and so forth) - had such a considerable impact on the history of film and cinephilia.
On the eve of its 70th anniversary, by choosing to represent itself under the symbol of this simultaneously palimpsest and unambiguous film, the Festival is reiterating its founding commitment: to pay tribute to the history of film, and to welcome new ways of creating and seeing. The steps represent a kind of ascension towards the infinite horizon of a cinema screen.
This 69th Festival de Cannes poster has been designed by Hervé Chigioni and his graphic designer Gilles Frappier. The 2016 visual identity has been created by Philippe Savoir (Filifox). |
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CLIENT |
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STAFF |
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ANNOTATIONS |
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| The house, property of a private foundation, is not visitabile, |
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