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Office in Casa Sissa

Office in Casa Sissa
Francesca Iovene

Office in Gio Ponti's Casa Sissa

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Casa Sissa is a building designed by Gio Ponti and Emilio Lancia in 1934 in Corso Italia, Milan. The building is an elegant work where rationalist, eclectic and Novecento style elements coexist.

Upon entering the exquisite marble foyer, one encounters a meticulously restored small office, preserving Ponti's original layout and reviving numerous features and details that were previously in a state of disrepair.

photo_credit Francesca Iovene
Francesca Iovene
photo_credit Francesca Iovene
Francesca Iovene
photo_credit Francesca Iovene
Francesca Iovene
photo_credit Francesca Iovene
Francesca Iovene

The entrance unfolds into a dark, wooden space, leading to the principal rooms through formal double glass doors. From this central void we do experience the great light of the main work room, characterized by large tables and essential consoles. Adjacent is the intimate meeting room, which opens onto the serene green courtyard. Concealed behind the entrance paneling are wardrobes and a discreet door to technical and service spaces.

photo_credit Francesca Iovene
Francesca Iovene
photo_credit Francesca Iovene
Francesca Iovene
photo_credit Francesca Iovene
Francesca Iovene

Custom fixed furnishings discreetly incorporate technical elements, storage, and archives, respecting the integrity of the original space. The smoked oak engages in a dialogue with the austere architecture of the 1930s, reinterpreting the color palette of the boiserie from that era. The conservative and philological restoration work has brought to life precious details like handles, hinges, and windows, leading to the rediscovery of the original wooden floors previously concealed. The oak herringbones and diamond board parquet have been meticulously restored and seamlessly integrated, along with the preservation of the original plasters and exquisite brass details.

The intervention is a subtle homage to the 1930s architecture, silently amplifying its character as a crossroads between modernity and classicism.

photo_credit Francesca Iovene
Francesca Iovene
photo_credit Francesca Iovene
Francesca Iovene
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