For artists, there is no detail that is small. When I met him I was struck by the good-natured vanity of the architect. Perhaps because he is Venetian, perhaps because he is an architect. Certainly because he knew he had used ancient materials such as glass or wood in modern objects from less is more. It helped that between art, architecture and design has been through every bit.

When he came to our villa, designed by him together with Renato Toso, he didn't talk about the volumes, of double heights, of the elevations, large fixtures or light. Instead, he pointed out the little things to friends and colleagues who accompanied him, the details at the time perhaps escaped the control of the client and on which he had followed the soft lines used a little’ everywhere. Finishes for which it is sometimes necessary to look under a table, leaning over a wall, pass a hand to feel it by touch. The smoothness and moldings of wood and marble, the sinuous base of the lunch bench, designed to accommodate the feet, which dialogues with the concave steps of the large central spiral staircase. Among them the terracotta tiles of the fireplace, of which we propose his original drawings, the maritime staircase, the eccentric cone, the long Venetian wall. And so on.

“When I was working in a lamp components factory, I met the architect Pamio” a technician once told me, now retired. And he added : “si involved bending a metal stem for one of his lamps in three different places. I did not object with him but when I was alone with the owner I confessed that one or two folds remained in the costs, the third would make them rise. I said it was 'the stuff of architects', that two were enough and that the next meeting with Pamio would tactfully dissuade him from wanting the third, worth putting on the market a lamp with an excessive cost with repercussions on sales.” When the architect returned shortly afterwards, the owner took it from afar, depicting a lamp that was still beautiful but with a more attractive cost and higher sales. With all-Venetian pragmatism, the owner said that it was easier to sell a thirty thousand lire lamp rather than a sixty thousand one.. Pamio's answer was, the worker tells, of the following content: “the third fold is done because I design for those who want to spend sixty thousand lire.”

And when one day, in the villa, sitting on his' Checkmate’ designed for Arflex, I asked him what kind of client my father had been, he replied wisely, managing to join dig, pride as an architect and esteem: ” un pain in the ass but in the end he did as I said because he liked beautiful things“.

Hello Roberto.