Crocevia
A place steeped in history becomes a venue for encounters and discussions on contemporary design.
In Bologna, at the Basilica of Santa Maria Maggiore, True is taking part in ‘Crocevia’, an installation that brings architecture, furnishings and new design possibilities into dialogue. There are places which, by virtue of their history and identity, seem naturally destined to bring together people, ideas and visions. Such is the case with the Basilica of Santa Maria Maggiore in Bologna, one of the city’s oldest buildings, which reopened in 2019 following a major restoration project.
Contemporary design meets historic architecture
The combination of a building with a strong architectural identity and furnishings with a contemporary aesthetic offers a fresh perspective on interior design. The historic features, surfaces and proportions of the space become an integral part of the design, suggesting new ways of interpreting the spaces and establishing a relationship between architecture and design.
It is not a question of recreating a conventional domestic or professional environment, but of observing how furniture, seating, tables and accessories can be incorporated into different contexts, adapting to varying functional and aesthetic requirements. It is precisely in this ability to engage with different spaces and intended uses that the versatility of the True collections comes to the fore.
Furnishings and solutions for new design scenarios
The selection spans a range of styles, materials and design languages, demonstrating how designer furniture can help define hospitality spaces, workplaces, communal areas and residential settings. Chairs, tables and accessories are not presented as isolated elements, but as parts of an overall design, in which every choice helps to strike a balance between aesthetics, functionality and well-being.
For architects and interior designers, Crocevia thus provides an opportunity to assess proportions, finishes and materials in a practical way, whilst imagining new ways of incorporating the collections into their own projects. It is an experience that restores design to its most tangible form: that of objects conceived to fit into spaces, interact with those who live in them and respond to different ways of using them.
The project was conceived and organised by STArch and Novediciotto, in collaboration with True and Fantin. The name refers to a stone cross bearing the date 1143, preserved beneath the portico of the Basilica, a testament to a place that has been a crossroads and meeting point for centuries.
From November 2nd to December 17th, the Basilica will welcome architects, interior designers and industry professionals to an experience that differs from traditional design events. No audience, no presentations: each visit is reserved for a single professional practice, which is given one hour to explore the space and its installations at its own pace.
Within this context, True has contributed to the selection of furnishings alongside STArch and Novediciotto, shaping a journey that spans various design sectors: from contract to hospitality, and from workspaces to residential settings. The True collections, paired with Fantin furnishings, engage with the historic architecture of the Basilica, creating a dialogue through different materials, proportions and design languages.
A gathering place for design culture
The choice of a historic venue such as the Basilica of Santa Maria Maggiore further enhances the significance of the initiative: taking contemporary design beyond traditional exhibition spaces means putting it to the test in a different context, where its relationship with architecture, memory and materials opens up new ways of interpreting it.
Products such as Wing, Zuel, Aura, Nomade, Farfalla and Sibillino form part of a carefully curated display, allowing visitors to examine the furniture up close and appreciate its features and potential uses outside the usual exhibition settings. It is an opportunity to see, touch and imagine new applications, whilst discovering the versatility of the collections and their ability to adapt to different needs and environments.
A convergence of eras, disciplines and design sensibilities, in which history does not merely serve as a backdrop to design, but becomes an active part of the dialogue.
