The Marchesini office seems to testify to the maxim by Michaux, “mimicry has always seemed to me a trap for the learned”
(Henri Michaux, Ecuador, Paris, Gallimard 1929).

In fact it could not jar more with the small town at its back: a dark, asymmetric building, an horizontal structure all in black concrete, including the roof, its wide windows facing the light-coloured stone buildings of the town, with their 2 or 3 floors and their high-pitched roofs dominated by the church bell-tower.

The project announces however a contextual approach which goes beyond the shape of the building and through a subtle line changing depending on the way the building is used it connects the individual to the landscape.

“for any modernity to be worthy of one day taking its place as antiquity, it is necessary for the mysterious beauty which human life accidentally puts into it to be distilled from it”
(Charles Baudelaire, Le peintre de la vie moderne, in “Le Figaro”, 26 November 1863).