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Fosbury Architecture, Wien (2026)

06/10/2026

Ferragamo SS27

The SS27 Ferragamo Fashion Show unfolded within an atmospheric architectural setting shaped by light, haze, and framed views. A series of large window-like openings punctuated the perimeter, turning the architecture into a sequence of shifting frames.
Smoke softened the space, while beams of light filtered through the openings, creating an ethereal atmosphere recalling the intense light and photographic landscapes of Egypt that informed Maximilian Davis’s collection, alongside the experimental imagery of Lee Miller and Man Ray.
The set became an optical device, with windows, light, and haze continuously altering depth and perception, translating Davis’s references into a cinematic and dreamlike spatial experience.

FERRAGAMO
Creative director: MAXIMILIAN
Set design & concept: Fosbury Architecture (luca monaco)
Production e show direction: Without Production
Soundtrack: YASMINA DEXTER
Photo credits: luca monaco

16/09/2026

Feedback. The Environments of Franco Vaccari
Museion, Bozen-Bolzano
28.3-13.9.2026
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“Feedback. The Environments of Franco Vaccari” brought together a selection of environments created by Vaccari between 1968 and 2005, reconstructed through archival materials, oral testimonies, photographs, and documentation from public and private collections. Where possible, the installations were faithfully reproduced; others were adapted to Museion’s spaces according to the artist’s original instructions and archival evidence.
Rather than following a chronological sequence, the exhibition unfolded as a journey through different environments and states of perception. The third floor focused on the intimate, individual, and dreamlike dimension of Vaccari’s work, while the fourth opened into a more collective experience, evoking spaces such as cinemas, bars, and streets. The exhibition gradually shifted from individual experience towards a shared environment, inviting visitors to move freely between reconstructed realities and become part of the work itself.

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Institution: Museum of Modern and Contemporary Art Bolzano Bozen
Curators: : Frida Carazzato Luca Panaro
Exhibition design: Fosbury Architecture (team: luca monaco )

Img. 1: Franco Vaccari, “Esposizione in tempo reale n.10, Sogni n.1”, 1975. © Archivio Vaccari. Photo by Ken Damy.
Img. 2-3: Fraco Vaccari, “Esposizione in tempo reale
n. 20, Ambiente grigio multiuso: Scatola per sondare lo spazio
vicino e lontano,” 1987. © Archivio Vaccari.
Img. 6: Franco Vaccari, “Esposizione in tempo reale
n. 21, Bar Code – Code Bar”, 1993. © Archivio Vaccari.
Img. 8: Franco Vaccari, “Esposizione in tempo reale n. 7, Mito Istantaneo”, 1974. © Archivio Vaccari.
Img. 4-5-7 Luca Guadagnini

14/09/2026

Feedback. The Environments of Franco Vaccari
Museion, Bozen-Bolzano
28.3-13.9.2026

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Yesterday marked the closing of “Feedback. The Environments of Franco Vaccari”, curated by Frida Carazzato and Luca Panaro at Museion.

“Feedback. The Environments of Franco Vaccari” explored the participatory practice of Italian artist Franco Vaccari, focusing on his immersive environments and the concept of the Exhibition in Real Time. Rather than presenting artworks as fixed objects, the exhibition emphasized processes shaped by visitors’ actions, interactions, and presence. Through reconstructed installations, archival materials, photographs, and videos, the exhibition highlighted Vaccari’s long-standing interest in participation, perception, and the unpredictable relationship between artwork and audience. The exhibition design transformed the galleries into a continuous spatial sequence that connected eight immersive environments while preserving the identity of each installation. Instead of acting as a neutral backdrop, the display created a fluid journey through rooms, thresholds, and transitional spaces, encouraging visitors to move freely and actively engage with the works. Minimal architectural elements, carefully controlled lighting, and a restrained material palette allowed the installations to remain the focus while enhancing their immersive qualities. The layout avoided a rigid chronological narrative, privileging experience over observation and participation over contemplation. Architecture functioned as an invisible framework that supports interaction, movement, and collective engagement, reinforcing Vaccari’s idea that the meaning of an artwork emerges through the presence and actions of its audience. The exhibition therefore became a dynamic environment in which space, artwork, and visitor continuously influence one another, transforming the museum into a place of shared and evolving experience.

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Institution: Museum of Modern and Contemporary Art Bolzano Bozen
Curators: : Frida Carazzato Luca Panaro
Exhibition design: Fosbury Architecture (team: luca monaco )
Photos: Luca Guadagnini

27/07/2026

FORTE SANT’ANDREA, VENICE First-stage proposal for the regeneration of Forte Sant’Andrea within the C40 Reinventing Cities competition 
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 ANTIFRAGILE The former military complex is conceived as an evolving landscape rather than a fixed masterplan. The transformation begins by restoring the island’s ecological systems and safeguarding its historic structures, establishing the existing vegetation as the permanent framework for every future intervention. A phased and incremental strategy activates only what is needed, allowing architecture, landscape and programme to adapt over time.

The fortress becomes an open platform for art, sport and research: bastions turn into climbing walls, earthworks into parkour routes, while lightweight structures harvest water and solar energy and host events and collective activities. With 80% of the island kept permeable, new paths rest lightly on the terrain, preserving its wild habitats and reconnecting the Forte to the lagoon.

Representative: NET Engineering Team: NET Engineering, Fosbury Architecture ( , luca monaco ) Environmental experts: R2M Solution Landscape: Taktyk
Art programme: Niccolo Casas  Project management: SCH-ONE Innovation

17/07/2026

Tabula Plena | GAMeC, Bergamo 04.06.2026–18.10.2026

As part of GAMeC’s year-long programme Pedagogy of Hope, Tabula Plena is a site-specific permanent experimental laboratory in the Sala delle Capriate of the Palazzo della Ragione, Bergamo.
Conceived as a multifunctional public platform, the installation transforms the historic hall into a space for gathering, learning, discussion, and cultural exchange. Structured as a circular environment, it rejects fixed hierarchies in favour of movement, participation, and exchange. Its surface is shaped by a series of recessed areas with distinct geometries and functions, forming interconnected spaces that accommodate workshops and a range of collaborative learning activities.
Graphic signs embedded throughout the installation reinterpret the outcomes of participatory workshops while echoing the prehistoric rock engravings of the Prealps, turning the work into a living archive of shared experiences.
Complementing the architectural intervention, a series of suspended illuminated sculptures by Claire Fontaine reflects on communication and social interaction in the digital age, establishing a dialogue between the physical setting and contemporary modes of knowledge production.

Thanks to: and the whole team Project: Fosbury Architecture (team: ) in collaboration with
Technical sponsors:  Press:  Photo © .gnesi_studio

15/07/2026

Tabula Plena | GAMeC, Bergamo 04.06.2026–18.10.2026

As part of GAMeC’s year-long programme Pedagogy of Hope, Tabula Plena is a site-specific permanent experimental laboratory in the Sala delle Capriate of the Palazzo della Ragione, Bergamo.
Conceived as a multifunctional public platform, the installation transforms the historic hall into a space for gathering, learning, discussion, and cultural exchange. Structured as a circular environment, it rejects fixed hierarchies in favour of movement, participation, and exchange. Its surface is shaped by a series of recessed areas with distinct geometries and functions, forming interconnected spaces that accommodate workshops and a range of collaborative learning activities.
Graphic signs embedded throughout the installation reinterpret the outcomes of participatory workshops while echoing the prehistoric rock engravings of the Prealps, turning the work into a living archive of shared experiences.
Complementing the architectural intervention, a series of suspended illuminated sculptures by Claire Fontaine reflects on communication and social interaction in the digital age, establishing a dialogue between the physical setting and contemporary modes of knowledge production.

Thanks to: and the whole team Project: Fosbury Architecture (team: ) in collaboration with  Press:  Photo © .gnesi_studio

15/05/2026

Sguardi sull’Africa
Palazzo Gotico, Piazza Cavalli, Piacenza
May 2026

Entering Piacenza’s Palazzo Gotico, visitors cross into a civic medieval space reactivated as a contemporary forum. The exhibition brings together African sculptures, Moroccan paintings, contemporary works, and pieces by emerging African and diasporic artists through a unified spatial system that privileges dialogue over chronology.
The installation is organized around a tiered tribune inspired by the relational structure of a medieval choir. This vertical device creates a non-linear, ascending experience: African sculptures occupy different levels as autonomous yet interconnected presences, while Moroccan paintings on the upper tier shift the gaze toward a more frontal and contemplative dimension. The result is a perceptual sequence from sculptural physicality to pictorial reflection.
Constructed in warm pink fireproof MDF, the tribune establishes a measured contemporary presence that harmonizes with the stone architecture without imitating it. At the center of the monumental hall, a large table dedicated to workshops and educational activities becomes the civic heart of the exhibition, emphasizing participation, exchange, and shared knowledge.
The display avoids traditional museum hierarchies, inviting visitors to create their own paths through the works. A deliberately empty area at the end of the hall remains flexible for talks, performances, and public events. In this way, the project restores the Palazzo’s collective vocation while transforming the exhibition into a social space of encounter, dialogue, and shared identity.

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Curators: Paolo Giglio e
Set design: (team: )
Press:

13/05/2026

Sguardi D’Africa
Palazzo Gotico, Piazza Cavalli, Piacenza
2026

Entering Piacenza’s Palazzo Gotico, visitors cross into a civic medieval space reactivated as a contemporary forum. The exhibition brings together African sculptures, Moroccan paintings, contemporary works, and pieces by emerging African and diasporic artists through a unified spatial system that privileges dialogue over chronology.
The installation is organized around a tiered tribune inspired by the relational structure of a medieval choir. This vertical device creates a non-linear, ascending experience: African sculptures occupy different levels as autonomous yet interconnected presences, while Moroccan paintings on the upper tier shift the gaze toward a more frontal and contemplative dimension. The result is a perceptual sequence from sculptural physicality to pictorial reflection.
Constructed in warm pink fireproof MDF, the tribune establishes a measured contemporary presence that harmonizes with the stone architecture without imitating it. At the center of the monumental hall, a large table dedicated to workshops and educational activities becomes the civic heart of the exhibition, emphasizing participation, exchange, and shared knowledge.
The display avoids traditional museum hierarchies, inviting visitors to create their own paths through the works. A deliberately empty area at the end of the hall remains flexible for talks, performances, and public events. In this way, the project restores the Palazzo’s collective vocation while transforming the exhibition into a social space of encounter, dialogue, and shared identity.

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Curators: Paolo Giglio e
Set design: (team: )
Press:
Photos:

16/04/2026

DUAL SHIFT
FW26

Titled DUAL SHIFT, the set for Solid Homme Fall/Winter 2026 in Paris spatializes the brand’s reflection on the multi-hyphenate condition of contemporary life, where one individual moves across parallel roles without changing identity. The scenography is conceived as a hybrid interior typology, staging the seamless transition between the ordered environment of the corporate office and the rougher, task-oriented atmosphere of the workshop.
This duality is articulated through the collision of two distinct spatial regimes. The office is rendered through alignment, repetition, and a controlled serial layout, establishing a clear architectural order. In contrast, the workshop introduces a more tactile register, defined by exposed utility, raw surfaces, and the visible traces of making. Rather than simply illustrating two settings, the project constructs a continuous inhabitable system in which discipline and manual process coexist within the same frame.
By translating the collection’s idea of the alter ego as an extension rather than a disguise into typological and material contrast, the set gives architectural form to a lifestyle shaped by overlapping routines, where professional structure, creative labor, and private repetition unfold within a single spatial syntax.

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Art Directing: (team: , )
Production:
Video:
Music:
Styling:
Casting:
Hair:
Makeup:

14/04/2026

DUAL SHIFT
FW26

Titled DUAL SHIFT, the set for Solid Homme Fall/Winter 2026 in Paris spatializes the brand’s reflection on the multi-hyphenate condition of contemporary life, where one individual moves across parallel roles without changing identity. The scenography is conceived as a hybrid interior typology, staging the seamless transition between the ordered environment of the corporate office and the rougher, task-oriented atmosphere of the workshop.
This duality is articulated through the collision of two distinct spatial regimes. The office is rendered through alignment, repetition, and a controlled serial layout, establishing a clear architectural order. In contrast, the workshop introduces a more tactile register, defined by exposed utility, raw surfaces, and the visible traces of making. Rather than simply illustrating two settings, the project constructs a continuous inhabitable system in which discipline and manual process coexist within the same frame.
By translating the collection’s idea of the alter ego as an extension rather than a disguise into typological and material contrast, the set gives architectural form to a lifestyle shaped by overlapping routines, where professional structure, creative labor, and private repetition unfold within a single spatial syntax.

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Art Directing: (team: , )
Production:
Photo:
Styling:
Casting:
Hair:
Makeup:

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