That Timi treats his dwelling as a sort of R&D facility is only appropriate since the apartment, in the city’s Brera neighborhood, is “My home is an example of research and experimentation, an artifact of my essence,” the designer says. ![]() Bookshelves are disguised behind door panels, and kitchen cabinets and bathroom elements are elegantly integrated into the architecture. In addition to being a showcase of Timi’s rigorous ideology, the 1,290-square-foot loft is a place of quiet and hidden functions. Photography by Nathalie Krag/Living Inside produced and styled by Tami Christiansen. The HenryTimi founder at his Milan loft, in the city’s Brera neighborhood. “My designs revert to the pristine state of things: monochromatic elements and singular natural materials,” Timi says. Exuding a reserved elegance and honesty, his geometrically reductive creations, whether a pewter vase or a planar oak chair, celebrate their raw materiality-a unique bond with their organic origins. Even the monolithic chiseled-stone kitchen and the bathroom vanity, more site-specific sculptures than fixtures, align with his resolute vision: simple, restrained, refined, luxurious. All surfaces-walls, ceilings, rough stone floors-are brushed with a layer of clay, forming a chalky backdrop to a curated selection of minimalist furnishings from the designer’s HenryTimi brand. The Milan loft of artist/designer Henry Timi exhibits an almost monastic purity. Matter and the ability to process it, often boarding on the limit.Artist/Designer Henry Timi Finds Depth in Simplicity at His Milan Loft He managed to realize a language and to do it accurately through matter by utilizing it. Henry Timi worked closely with the porphyry of Claudio Silvestrin at the time of Minotti Cucine he investigated the essential form and nuances of the whites of Pawson and AG Fronzoni. Included in these projects are the pen-pore Travertino Colosseo and the Bianco Canale with “acquafuoco” finish for the kitchens or the “michelangelo” Bianco marble or the “venagrigio” Bianco for the bathrooms, the protagonists of this world able to reexamine the presumed minimalism associated with these masters previously declared. He works the materials with a straightforward metaphorical process that denies the raw material’s heaviness or delicacy and declares it with calm force. ![]() Henry Timi designs and invokes the help of designer friends to draw for him (Federico Delrosso). Surprise yes for the shapes, for the pyrotechnic use, even if very complex and elegant, of the natural stone of Henry Timi, devoted to AG Fronzoni, John Pawson, and Claudio Silvestrin, but radical and Mediterranean in substance.Īlready because the bathrooms with split stone with craquelé effect, the ziggurat of unique and unexpected kitchens, and the crack of stone surfaces lightened to cover huge doors are proof of design strength. The surprise gratifies us, often remains immediately impressed, and for a long time, in memory, distracts and amuses us, stimulates us in thought and comparison.Īnd surprise is the keyword that resonates in our head when we enter a beautiful Milanese space, that of Henry Timi in Foro Bonaparte. Even if covered by certain modesty, the term that perhaps differs more from axioms and adages of a modern project, surprise indeed, is the missing note, the harmonic reconstructed and undeclared of a perfect chord. Perhaps surprise is the word we expect from every contemporary project. Henry Timi recounts with his project the actualization of a very long journey that has to do with the history of man. ![]() ![]() In a timeless project, but with many references, natural stone finds unexpected and imaginative applications.
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