Massimiliano Fuksas is an Italian architect, born in Rome in 1944. He received his degree in Architecture from the La Sapienza University in Rome, 1969, where he opened his first office with his wife. From 1994 to 1997 he was a member of the urban commissions of Berlin and Salzburg. For many years he has dedicated special attention to the study of urban problems, particularly the suburbs. Through his architecture one can see that the studio expresses devotion to the study of urban problems in large metropolitan areas. He emerges as an Italian, who rejects the importance of national identity, but enjoys collaborative relations with Ferrari and Armani. A man who has opened offices in Paris, Rome, Frankfurt and China, yet obsessively oversees every detail of his practice's work. A self-professed disciple of Borromini, who spent the vast majority of his career exiled from Rome, Massimiliano Fuksas is a man whose signature is etched into the concept of contradiction.
Fuksas is renowned for his artistic and painterly freedom, with which he first addresses a project. He is an imagist first, one who is able to liberate the seeds of his ideas into an explosion of line and colour, seemingly without effort. His inspiration is consistently diverse as is his detailed personal awareness of experience. This results in a parallel obviousness to functionality. It is in this way that he succeeds as an artist and a builder. He is absorbed by the communication and representation of ideas, from sketches to models, to drawings and to built form.
Fuksas believed that, part of the components of architecture is to be inventive and strive for new creative ways of solving problems. Thus, each project deserves to evolve from its peculiar circumstance and take on an appropriate form in response to the brief, location, social requirements, environment, function and urban context. All his life he fought against form, shape and style. His work is always an attempt to understand or study facts and problems. His preference to use bold elements and make a statement has become his signature style. His style grows out of simple but bold forms toyed on grand scale. Like music, sometimes a theme is repeated, other times there are variations to the themes, and at times it's a jam session.
His Impact / His Projects:
University at Brest and Limoges, France
Flora Tristan University complex in Hérouville-Saint-Clair, France
Maison des Arts in Bordeaux, France
Europarc Commercial Complex in Salzburg, Austria
Vienna Twin Tower Vienna, Austria
PalaLottomatica in Rome, (1999–2003)
Research Centre for Ferrari, Maranello, Italy
Fiera Milano exhibition complex, Rho, near Milan, (2005)
Centro Congressi Italia in EUR district of Rome
Urban master plan "FrankfurtHochVier" in Frankfurt, Germany (2008)
Le Bolle Pavilion for Nardini, Bassano del Grappa, Italy (2004)
New Exhibition Hall, Porta Palazzo district, Turin, Italy
Zenith Music Hall Strasbourg, France (2003–2007)
St. Paul Apostle's Church (Chiesa di San Paolo Apostolo), Foligno, Italy (dedicated in 2009)
Bao'an International Airport, Shenzhen, China (2007)
Armani Ginza Tower, Tokyo, Japan (2007)
The new Congress Hall in Rome, Italy (ongoing)
Erlangen Arcaden, shopping centre, Erlangen, Germany (2002)
Aquadeus, Salzburg (water park) Austria (2002)
Queensland Gallery of Modern Art, Brisbane, Australia (2001)
New Headquarters Italian Space Agency Headquarters - ASI, Rome, Italy (2001–2004)
University 'Centre Ville', Brest, France (1992–94)
Residential and office complex - Asterfleet, Hamburg, Germany (1998–2002)
Renovation of the old harbour area, Nagasaki, Japan (1993)
Twin Towers, Headquarters for Wienerberger, Vienna, Austria (1995–2001)
“When people are prepared to damage your building, you have failed. I am not one of those pretentious designers who believe the people are always wrong."
“When I compose a building, I am absolutely unconscious; I enter a trance-like state. That is how I arrive at its very ethic and reason for being."
“Oscar Niemeyer, what a life he has led. He is engaged with politics, music, and the arts. We architects must not live atop a mountain. It is our duty to experience and question everything."
“There was a time I'd have rather been a poet, painter or filmmaker. But I came to realise that architecture was not very far from any of these things. I do not see this as a discipline; my job is to give emotion, magic and alchemy to people. What does one want from an architect, if not optimism and a sense of the possible?"
"Form is the most dangerous of all. Put that ahead of people and you are finished, they are the ones who will be working and living and making love in your spaces. Fail to look after them and they'll never look after you."
"They are all part of the fundamental idea an architect must explore, I'm always a student, never a teacher."
"Conflict, for me, is the very essence of my architecture, I will never just use 'a' or 'b', it must always be both. Within that dialectic exists the best promise of emotion. One counterpoint will always emphasize the other."
"The best innovation is to give people a place to live that is appropriate for their lives. We need to understand better men, women and children. Democracy is the real innovation in architecture today."
"The biggest challenge is how to deal with a world of six billion people, many of whom are moving every day from rural areas to cities. My answer is we have to work with chaos, rather than order. I call this sublime chaos."
"We have to be fast, because you always need fresh concepts and not ideas that quickly become boring."