Giovanni Ricciuti, together with Davide Valle and Stefano Cerruti, is the founder of Bottega Studio Architetti in Turin. Their studio champions an architecture philosophy rooted in openness to creativity, ongoing research, and a vibrant interdisciplinary dialogue that spans various forms of expression.
Projects like Regio Parco 27/29 and Tarino 14 invite us to reflect on the importance of personal relationships and the need to establish a dialogue with our living environment.
Bottega Studio Architetti recently took on the design of the new Amistà winery.
A studio that’s also a workshop—can we see a blend of craftsmanship spirit and innovation in your work?
«Absolutely. From the very beginning, over thirty years ago, our studio felt a clear need: to understand materials deeply enough to highlight their intrinsic qualities without altering them. For example, if I work with steel, I might let it rust, galvanize it, or oxidize it—but I would hardly paint it. Only by knowing each material thoroughly can you transform and utilize it to its best potential. That’s the spirit of a blacksmith’s or carpenter’s workshop, where mastery over raw materials is essential».
“What defines our approach is the importance« of simple forms, cutting-edge details, flexible spaces, all combined with the honesty of the materials we choose,” Bottega Ricciuti explains. How does this translate into practice?
«We see architecture as communication. Our goal is to establish a relationship between matter, form, space, and people. Every project must be thoughtfully designed to meet our client’s needs, but at the same time, we aim to ensure a balance between the building and its surrounding environment».
Who or what has influenced your professional path, and what sparks your curiosity today?
«Lately, I’m most intrigued by how the concept of living is evolving—how architecture’s relationship with people and different contexts is changing. As for influences, I have a deep connection to the era of the Bauhaus di Dessau in the 1930s. Think of masters like Ludwig Mies van der Rohe, who didn’t see architecture as an end in itself but as a discipline that fosters cross-pollination with other arts».
You’ve designed the new Amistà winery. What was the core idea, and how did it develop?
«The key was the collaboration with Michele Marsiaj (Amista’s founder), which allowed us to understand the project’s focus on terroir enhancement. We pursued a direction that creates harmony between the building and the land—this explains, for instance, our use of corten steel, a material closely linked to the earth. We also aimed to craft a structure capable of making a strong impression in this natural landscape. That’s why we developed a perforated façade that, at night, transforms the building into what we like to call the ‘lantern of the hills’ in the Monferrato».
Amistà is associated with “The Taste of Elegance.” How do you see the ‘grammar’ of elegance in architecture?
«I’d point to three key elements: timeless design, the soul of the materials, and the pursuit of contrast—light and shadow, solid and void, smooth and rough. Elegance manifests in the ability to elevate the uniqueness of a project through the harmonious interplay of these fundamental aspects».