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Collection by michele foti

ART

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The factory’s dividing walls were removed, leaving a “square doughnut,” as Gabriele puts it—a continuous flow around the central landing. The renovation took just four months. “The whole thing was done with very little cost in materials and time,” he says, “but in the studio we are used to working like that.”
The factory’s dividing walls were removed, leaving a “square doughnut,” as Gabriele puts it—a continuous flow around the central landing. The renovation took just four months. “The whole thing was done with very little cost in materials and time,” he says, “but in the studio we are used to working like that.”
Krzentowski, who works from home for three hours a day, at his desk. A Marc Newson Orgone stretch lounge occupies the foreground, while a large Paul McCarthy photograph looms behind.
Krzentowski, who works from home for three hours a day, at his desk. A Marc Newson Orgone stretch lounge occupies the foreground, while a large Paul McCarthy photograph looms behind.
Didier Krzentowski and his wife, Clémence, in the dining room of their Paris flat. The Slim table was designed by Martin Szekely for a Galerie Kreo exhibition in 1999. On the wall, above a Marc Newson Alufelt chair, is a photograph of Krzentowski by Erwin Wurm.
Didier Krzentowski and his wife, Clémence, in the dining room of their Paris flat. The Slim table was designed by Martin Szekely for a Galerie Kreo exhibition in 1999. On the wall, above a Marc Newson Alufelt chair, is a photograph of Krzentowski by Erwin Wurm.