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Building Art

di Richi Ferrero


Using the light, Richi Ferrero has activated an important recovery that, taking advantage of the lightness of the light emissions, restores to the memory what was the characteristic sign of the common areas represented by the garden now disappeared and by the still existing courtyard, although reworked. A design of stones and light of the courtyard, made with 748 bars of resin of luminous stones and 300 meters of lighted ribbon, recreates a classic baroque model, with gray-blue pebbles and warmer sand-colored tones that match light colors carefully mixed. Above them the tree, the master shadow of each garden, is rebuilt in steel and suspended in the air, between the first and third floors: 520 kg of galvanized iron make up the trunk and the arm that supports it. The tree grows over 6 meters in height with a maximum diameter of 5.30 meters, while the support arm is 4.30 meters long. Each branch has a light and each light changes color. The 13 main branches are made with 590 kg of stainless steel tubes, with 78 punctual luminous tubes powered by 180 feeders. When daylight falls, the tree illuminates the courtyard redesigned with bright pebbles. Around and above the tree the signs are simplified, the garden rises, mentioned in the 82 aromatic planters illuminated by 246 LEDs with warm and cold light and suspended from the long balconies, in turn enriched by 230 meters of miniflux of warm light. At the top, the garden opens up in the magnificence of floral wall units that dialogue with the sky: while the day imposes its natural light, allowing the growth of plants and flowers, it is still a work of lighting to enhance the poetry of these flowerbeds suspended between the earth and heaven, until darkness allows for daily rest. The Vertical Garden closes with triangular elements, decorated with the green recoating, which cantilever peek out from the high square of the building, and open up to the sky determining the indispensable formal balance of the work.

di Richi Ferrero


Inside the building, an extraordinary bright surprise that refers to the dream takes the sea to Turin through another work by Richi Ferrero. The inspiration comes from the cumbersome presence, at the center of the space, of a glass dome, currently transparent, which covers the underlying salon used by a bank, and which represents the limit of the private walking areas of the four apartments facing the ‘area. The work is composed of two signs, one vegetable and one sculptural, which relate to each other pertinently, constituting a unique charm. The entire perimeter of the dome sees the continuous placement of a vegetable decoration consisting of diversified evergreen trees. The sculptural sign is represented by seven fish of three different sizes, of which the largest reach one meter in length. The fish built in opal fiberglass are placed on the ribs of the dome at different heights: during the day they peek out between the greenery, while at night they light up changing color according to the desired schedule. The court is therefore transformed into a sea floor, inhabited by luminous fish visible between the branches of a poetic coral vegetation.

di Richi Ferrero


di Domenico Borrelli


Mix the cards, change game, shoot. Giving voice to the unexpected, in the consolidated pleasure of losing, while the buffoon – mad for fun and joke by necessity – gesticulates uses and abuses of fate, a fortuitous event for some, pure synchronicity for others. The hat ace inhabits the double world, the other, the one who looks at us in the mirror, breaking away from laughing with his hands in his hair; the Ace of Hat is the world of Alice and the company poets; sculpture, mass, body, matter, and at the same time irony, wit; immaterial thought and creative act. The artist portrays himself in imaginary paper, one of the few that can change the game, carefully mixing, in perfect balance, the art of the game and the game of art. Rabelais said, quoting a philosopher: “it would be extremely interesting to write the history of laughter”.

di Domenico Borrelli


Borrelli’s anatomies are a sort of endoscopy, aimed at highlighting how corporeity, “dissecting itself”, becomes an expression of an archetypal primary state, at the intersection of distance and separation, identifying phenomenological topographies. “(Anatomie inquiete, Tiziana Conti, 1998) “Colonna’s work explicitly explains the relationship, thematic and material, between sculpture and architecture, between body and space. His research has always celebrated the body as a leitmotif (Nietszche), the body as a totemic place (for art is sculpture) as it is built on metrics and order, tearing, in a continuous movement, to remove, from the power and chaos.

di Daniele Accossato


In reinterpreting the most famous warriors who have come down to us from antiquity, Daniele Accossato forges an unprecedented Riace Bronze. Bound and enclosed in a box, the exemplary hero, bold and hieratic, suddenly finds himself a vulnerable and defenseless prisoner, maintaining, despite adverse fate, an undeniable pride as much as a touching humility.

di Fabio Viale


Through images that have become icons, Viale reproduces new meanings in his work with a view to challenge to suggest that behind every representation and symbol lies another inherent in the possibilities with which the material lets itself be shaped and transformed, to return the idea of ​​a reality where time seems to stop.

di Gabriele Garbolino


di Massimo di Venuto


di Mateal Art


di Michelangelo Pistoletto


Pistoletto’s mirror paintings, on the other hand, not only realize the ideal of a perfectly ‘objective’ painting, capable of ‘doubling’ reality, but also of a dynamic and non-immobile painting in its objectivity, just like the life: in fact all that comes to be reflected in the picture (the changing surrounding environment or the very image of the viewer) becomes part of the picture on the same title and with the same lucid ‘objectivity’ of the figure or of the figures photographic images that are printed in the mirror. Pistoletto thus relates a fixture that suspends time but renews its configuration every moment. Then, when photographing a mirror-painting by Pistoletto, it becomes practically impossible to distinguish the mirrored figures from those shown on the mirror, and therefore of a mirror-painting by Pistoletto it is possible to perform infinite different shots, symptomatic of the ‘lability and space-time relativity’ (Calvesi) of this open system of images.

di Richi Ferrero


This sort of “guardian” of the city is a luminous sculpture conceived to redesign the nocturnal profile of Turin, giving a touch of class and color. Conceived by the artist Richi Ferrero the Sagittaurus is the second bright lookout that watches over our city after the Great Warrior, placed in 2006 on a building in corso Matteotti. The Sagittaurus, protagonist of these last days of the Turin art, represents the union between a conqueror endowed with bow and arrows and a bull, symbol of the ancient population of the Taurini.

di Richi Ferrero


Tall, thin, armed with spears, arrows, darts, on foot and on horseback: this is how. Ferrero has conceived the lookouts of #Torino, a series of luminous sculptures that, leaning from the roofs, with their light redraw the outline of the night. At #GrandeGuerriero, (private collection) placed in 2006 on the highest floor of a building in Corso Matteotti, in summer (June 2015) came the #Sagittaurus, which watches over the roofs of Corso Massimo d’Azeglio to corner with Corso Vittorio. In these days, # Equìnox has been placed on the attic of the 17th century building, on the corner of Lagrange and Giolitti streets, the third sculpture that overlooks suspended between mountains and hills on the city which, as LeCorbusier said, has the best position naturalistic of the world. “A triad of warriors watches over the city from its roofs. I conceived them so that each work, by day, is drawn on the sky of the city like a pencil mark on a sheet of paper while at sunset a particular covering combined with the light that dresses them gives them back to the vision as if they emitted their own light – explains the artist Richi Ferrero. My warriors are neither invaders nor conquerors, but lookouts of the mental territory. “While Equìnox, armed with a crossbow, seems to stand out with his horse from the rooftops to the clouds, the Sagittaurus combines the figures of the warrior armed with a bow and arrows with the Bull, remembering the people of the Taurini, ancient inhabitants of the forests between the three rivers Po, Dora and Stura, where the Roman garrison, the first nucleus of the city of Turin, was then built.

di Alessio Boroni


Urban I.N.R.I. It is the work I did for the “Lagrange12” project. I thought about creativity and the city. To the men behind us and inside. Every brick hides stories, the stories of the men who imagined the building that that brick contributes to define, the men who laid that brick, those who took advantage of that building … the city is a network of stories and men, the city men are molded and re-molded. In this work I played on the relationship between man and city: a city that springs from the mind of the man / creator or that dominates it like a modern crown of thorns? But art does not have to give answers after all … “Art is not what you see, but what you allow others to see.” Edgar Degas “

di Ahmad Armone e Fanny Meera


“The work was created to illustrate the psychophysical processes of creation, with an idea of ​​creative expansion. The subject in question presents the “mind” which tends to be enveloped by mental processes through knowledge, which is stimulated and influenced by something that it finds externally. Rainbow-colored clouds enhance the sensory side of creativity on the subject in question. The eye underlines the importance of sight, co-protagonist with the mind, in giving birth to the creative idea.”

di Riccardo Di Stefano


“The city can be metaphorized as an immense machinery, a rattling and stratified cluster of houses, towers, factories and people. Wobbling, the mechanical monster moves, albeit slowly, towards a geographical as well as a social evolution. The creativity of those who live in the city is the driving force behind it, made up of instincts, ideas and colors. The realization of my work wants to represent the idea of ​​the slow but inexorable motion of the factory / city towards its continuous becoming, under the push, in fact, of an art that involves all those who work, live and live in the city. “

Omaggio a Depero di Richi Ferrero


The work of the Turin artist is a dedication to Fortunato Depero, protagonist of the art of the ‘900, representative of the second futurism and signer of the manifesto of aeropainting. Lagrange12 therefore opens its courtyard to the city in a dialogue between historical architecture, modern art and contemporary sculpture, which will be accessible to citizens, tourists and the merely curious.

di Roberta Bertazzini


The work of the Turin artist is a dedication to Fortunato Depero, protagonist of the art of the ‘900, representative of the second futurism and signer of the manifesto of aeropainting. Lagrange12 therefore opens its courtyard to the city in a dialogue between historical architecture, modern art and contemporary sculpture, which will be accessible to citizens, tourists and the merely curious.

di Roberta Bertazzini


Art installation inspired by the game of Tangram. Sand, lime, bologna gypsum wallpaper, mineral earth natural mortar, paste pigments, lime milk, water-repellent tarlatan cloth, natural wax water-based paint.

di Pixel Pancho


The courtyard of Quadrato, the contemporary home and urban relais of the Building Group, opens up to art and the city with a work by PixelPancho. The famous street artist from Turin has just created Eaten by feelings, a painting of the vein that the artist calls Mother Nature, open from tomorrow in the courtyard of Via delle Orfane 18 in Turin. Pixel Pancho has designed a feminine face in the court of Quadrato with a robotic soul on which the luxuriant nature with flowers and leaves that cover its features prevails. A work that reflects on the plague of femicide.

di Richi Ferrero


The T’ORO, symbol of Turin that looks to the future, the new work of the artist Richi Ferrero, in continuity with the works realized in Lagrange12 and The Number 6, is placed on the façade of Quadrato, on Piazzetta della Visitazione. “This golden horn is a vision of the city, of what has been and what will be. The frame that freezes the moment of the breakthrough is the changing of Turin in the present whenever the gaze of those passing by will catch its presence “, declares the artist Richi Ferrero.

di Domenico Borrelli per Paratissima 15


The simultaneous action of the artist Domenico Borrelli and two architects leads to the creation of a large sculpture, usable in the path of Paratissima XII, which will then be relocated at the end of the event in the courtyard of Quadrato, the transformation of the ancient convent of Sant ‘ Agostino in the heart of the Roman quadrilateral in Turin, under construction by the Building Group. The work Limitless by the artist Domenico Borrelli, result of the workshop realized with recovered materials of the building yards, in collaboration with IAAD, Politecnico di Torino and Lombroso16, was built with building materials to reveal the infinite artistic and expressive possibilities.

Paratissima 14


Workshop di Paolo Grassino


The design workshop led by the artist Paolo Grassino leads to the creation of a large work that will be exhibited on the occasion of Paratissima 13 in the courtyard of the Caserma La Marmora in Via Asti 22 and which will then be relocated as a work of art visible to all in a building owned space. The work stems from the reflection of the increasing use of construction materials in contemporary art, and on the artistic potential that these can also assume thanks to their structure, their color and their texture. They are simple raw materials, normally at the service of the building industry, to take on different forms and contents to finally reveal their unusual and unexpected beauty.

di Richard Wilson


On Friday 1st November at Allegroitalia Golden Palace, the work “Hang On A Minute Lads … I’ve Got A Great Idea” by the British artist Richard Wilson curated by Mark Hinchliffe and Heidi Donohoe was presented together with Artissima Fair. A tilting bus, on a 1: 1 scale, inspired by the final scene of the 1969 movie The Italian Job starring Micheael Caine will be suspended at twenty meters high on the terrace of the fifth floor of Domus Lascaris..

di Roberta Bertazzini


It is all that transforms. It is everything that breaks down the barriers of the perfect, the precious and the “beautiful”. The transformations take place first in the deepest layer of each of us and then involve the skin and the world of the “visible”, where the written words are not read but they feel.

Oxidum is someone who knows how to be light even in the shade.


Imitation gold leaf
Stabilized synthetic water adhesive
Lamellar metal powder
Luminor 2250-01 copper powder
Copper-rev 7 oxidizing patina
Yellow patina
Blue patina
Water-based enamel


Application of mission imitation gold leaf on a wall support (plasterboard) and subsequent oxidation of the same by means of oxidizing patinas, following precise compositional and dynamic lines of “gravity”. Calligraphic type decorative inserts with the same techniques in addition to graphite signs.



On the occasion of Contemporaryart Torino Piemonte, eight Turin street artists reinterpret the work TOH by the artist Nicola Russo, a tribute to the iconic torèt fountain, symbol of the city of Turin. Max Petrone, Alice Arduino, Gec Art, Rawtella, Arteria Palma, Nicolò Canova, Halo Halo and Jins will freely re-propose Russo’s work, reworking it with free technique and thus giving it new life. The eight works, gathered in the HOT Vol. 1 exhibition, will be exhibited from 2 (opening at 18.30) to 16 November at the Domus Lascaris open air gallery, inaugurated by the Gruppo Building. Together with the eight works there will also be the artist’s original TOH, on display in the pedestrian section of Via Dellala.

In mid-November, the works will be auctioned within the Paratissima spaces: part of the proceeds (40%) will be donated to the Piedmontese Foundation for Cancer Research Onlus in Candiolo.

TOH is inspired by the urban element of public fountains and represents the city’s desire for rebirth after the long lockdown. A genetically POP work, recognizable by all, but also a manifesto of the new Turin that reacts, that is exposed to be reborn. This is demonstrated by the involvement of an important charity partner such as FPRC Onlus, chosen in order to give an additional social value to the artistic project, which is strongly rooted in the territory: it is no coincidence that the entire production chain is Piedmontese. In this way, the socio-economic fallout of the rebirth of which the project is the spokesperson will also materialize.



The Anatomia Umana sculptural group is made up of a pair of vertical sculptures in brushed stainless steel over 5 meters high, located in a nerve center of the city, at the intersection of Corso Galileo Ferraris and Via Cernaia. The sculptures acquire a specific urbanistic sense and become plastic signs that aesthetically enhance the beginning of the long perspective where the monument to Vittorio Emanuele II stands out in the background. The monumentality and organic essentiality of the material establish a dialectical relationship with the urban and natural landscape that surrounds them.

The dimension of the internal concave spaces of the sculptures, as opposed to the external convex surfaces) imposes itself as the protagonist and fits within a dynamic where the alternation between empty and full is marked by our imagination. The artist, in a skilful conceptual rhetoric, experiments with geometry and volumes, reaching a fleeting frontier where human intervention vanishes and that of nature continues, giving birth to new forms, new anatomies.

This site-specific artistic intervention participates in the revaluation of a public space and stands as a model of synergy between public and private. Thanks to the collaboration between the Mazzoleni gallery and public institutions, the redeveloped site presents itself as a new point of reference and a happy example of public art for the benefit of citizens and visitors of the Piedmontese capital.

“Human Anatomy, this recent sculptural work of mine in which two huge holes shaped in the shape of a skull cap deliberately stand out, are – in my view – the plastic translation of concepts such as matter, weight, shape, void that I have always investigated in my make sculpture. The attempt to relate the part with the whole, the visible form of things with the immaterial aspect of knowledge, as well as the urge to seek the organicity of the form, is my way of continuing my research on Man and on the relationship between man and the world “. declares the artist Salvatore Astore, author of Human Anatomy.

The exhibition project, which is part of the recurrences of the fifth centenary of the death of Leonardo Da Vinci, is carried out in collaboration with the City of Turin, under the coordination of the Public Art Office and with the patronage of the Piedmont Region and the City Turin Metro. The inauguration will be held on Thursday 11 November in the presence of the artist and the institutions.

The lighting of the work is by Iren, the operation is made possible thanks to the support of Banca Intermobiliare, and the support of local companies and patrons including Assistudio, Gruppo Building, Damilano, Deltratre, Subduded, Vestil.

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