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Mies van der Rohe claimed that the metal frame was a component so perfect that the only way to cover it was veiling it with a transparent glass envelope, so that the structure would become the identity of the architecture itself.
It is a lateral thinking that feeds the conceptual background of the entire collection, an affinity suggested by the constructive geometry of the first, large skyscrapers.
At the twenty-second floor, the meeting is intriguing, somewhat unexpected: the industrial aesthetic, meticulously focused on the study of joints and folds of the aluminium panels and steel profiles, fading to a neo-Victorian atmosphere, felt by the use of black, rusty iron, marble.
22nd Floor, more than a collection, is an environment defined by a modern approach, prone to rationalism and the shape of Scandinavian design of the 60’s; a versatile and functional elegance that, with refined design delicateness, manifests the beauty comprised in the quality of each material.