Queen Silvia Concert Hall is the concert hall named after Queen Silvia of Sweden, wife of King Carl XVI Gustaf.

It is a place where spectators float, strolling on suspended balconies, in a space of inspiration and concentration that creates an immediate relationship between architecture, sound and music, musicians and audience.

In 2015 Mark Tatlow, director of the Lille Akademien, the city's historic conservatory founded in 1998, asked architect Palù to conceive the new Concert Hall also as an educational center and natural extension of the O/Modernt, a creative and multifunctional project, combining the different arts, distant historical eras and different peoples' cultural traditions.

Research and experimentation have been the basis and starting point of the architect's work, aware that he is working towards the creation of a "democratic" and fluid educational space, with no physical barriers between artists and audience.

The hall, which is small in size, accommodating 300 seats, but equipped with a very large stage, was created as an experimental space, capable of hosting performances of a variety of musical genres, research works and interpreting the music of the future, imagining, on some occasions, even subverting the canonical order: the audience in the stage, the orchestra on the balconies.

The Giovanni Arvedi auditorium was designed as a form of expression of the beauty of instruments and was created to represent the great musical tradition, but it also wants to confront the future of music. The result is a fluid project, made of soft volumes, sinuous lines that chase each other and draw a large organic sculpture that expresses the propagation of sound waves. A parallel project: architecture and sound, unfolding a sequence of forms, volumes, and views; the focal place is the central stage, on which attention is to be immediately centered. An important acoustic and architectural choice, in which immersive visions settle, almost as in a Totalteather of Weimaran memory. 

The space where the sound is formed, the circular stage on the lower level of the hall, is grasped by the audience as a magnetic core, drawing concentration to the musical event and making it an image of full centrality. The audience 'envelops' the musicians, the dialogue that is created between spectators and performers produces a strong emotional impact and allows for a new experience that goes beyond the classical concept of a concert. 

The location of the Diocesan Museum of Cremona is the episcopal palace, which is located in the vicinity of the Cathedral and the Baptistery; moreover the palace is home to the Romanesque Stones Museum and it is centrally located in the city, near the prestigious Violin Museum and the Municipal Palace. The spaces that house the Museum are the rooms on the second floor, the basements and the hypogea, connoted by great solidity and constant temperature and humidity, ideal characteristics for housing works of art. These areas of the Palace, long neglected and used as storage, have been, through this transformation, enhanced and recovered. In order to strengthen the biography of the building, with a contemporary and recognizable architectural language, the Diocesan Museum was conceived not only as an exhibition space, but also as a space for the conservation of the many works at risk of deterioration dispersed in the various locations of the Diocese of Cremona. The entrance, in the northeast part of the main facade of the Episcopal Palace, features a new bronze door that fits into the partition of the building.

The Violin Museum is a museum of and for the future, it is the gallery that tells the story of the fascination of a "magical," mysterious and seductive instrument. An active participatory, exciting and engaging museum that was born with a strong idea: to bring together under one roof the best of Cremonese violin making expression by unifying three museums into one and by integrating other important functions to create a dynamic structure of worldwide appeal. A place that preserves the identity of three unified museums while diversifying the layout in all the different rooms. The functional program was reflected into the structural organization, making it pratical and easy to read: the ground floor hosts accessibility for commercial activities, the ticket offices, the auditorium and the contemporary art pavilion.

In this project experimentation and research lead back to one of the founding thoughts of the modern movement: those 5 points for “une nouvelle architecture” by Le Corbusier: pilotis, toit jardin, plan libre, fénetre en longeur, façade libre.

In the residential complex, the canonical relationship between air and built mass is subverted: a new body of volumes in which the voids generated are vastly outnumber the solids. The volumes follow the idea, disintegrating and juxtaposing, seemingly haphazardly, but according to a rigorous logic played on rhythmic alterations and studied asymmetries. Everything gives a sense of movement, fluidity, dynamism, lightness, a design freedom aimed at the search for compositional balance and harmony of the overall image.

The desire to create maximum overlooks of outdoor green spaces generates great design complexity and the formation of unusual volumes that allow the space to breathe and the dwellings to enjoy great perspectives and unobstructed views. The resulting feeling is that of living in a context of discontinued villas surrounded by greenery: "suspended in a rarefied and permeable architecture."

Located in the northern suburbs of Milan, at the corner on Doberdò and Fortezza streets, the building has three floors, 2 of which are underground for garages; the remaining 6 floors are dedicated to housing. The architecture dialogues between the vibrations of matter and the compositional freedom of primary colors. A continuous play of juxtaposition between the solids in anthracite zinc-titanium and the voids of the glazing, the volumes seem to come out of the facade thread looking for new forms of hybridization between architecture and context. The penthouse floor, on pilotis stands as a suspension bridge reconnecting the lower floors. (ph. Matteo Piazza)

The Project concerns a grand mansion located in the historic center of the town of Soncino, in the province of Cremona. The recovery and restoration work involved a late 19th/early 20th-century palace, part of an even older building of 18th-century origin. 

This 350-square-meter portion was an old spinning mill, including a wide porch and a floor above, used for silk processing and housing for the spinners. 

Abandoned for more than 40 years, reduced to a simple warehouse, the building was recovered and converted into a private home. While respecting its unique characteristics, the interventions were conducted in collaboration with the Superintendence of Artistic and Cultural Heritage with the aim of enhancing the characteristics of the pre-existing buildings, intervening in a recognizable and decisive way, with an essential style able to shape a new domestic soul in line with the contemporary and minimalist taste of the homeowners.

A new covered area was established in the large outdoor green area, dividing the building from the rest of the structure, making it independent.  

A detached town-house at Piadena, a small town out in the Cremona plain. The building stands in an architecturally nondescript built-up area which suggested the guiding theme of privacy: it develops on low horizontal lines. The plans by Giorgio Palù play on proportions and inventiveness of shape: space and materials are subtly interconnected. No features particularly arrest the attention: the image is built up by degrees and juxtaposition, a combination of details and use of space in an act of delicate introspection. What predominates in the layout is the central hall running right through the north-south elevation, and off this hall the various parts of the ensemble fan out. Though these parts are clearly differentiated and recognizable in their function or inner logic, there is no sense of a jumble of separate nuclei but a sophisticated kind of distinction within a unity of composition and image. This organically unified effect is rendered from the outside by the faint colour differences that tend to one homogeneous palate.The texture of the outside walls varies in consistency and treatment. The main bodies of the house alternate between smooth white architectural concrete with grooved horizontal lines running across it; render differing in look and consistency (fine skim, rough cast, pebbledash) used to create curving swathes of juxtaposed colour and textural differences in explicit tribute to Alberto Burri and his informal poetics; walls clad in ‘crazy’ stone. Knobs of stone project along the wall faces.And besides the combination of materials and wall surface treatment, there are two sheets of metal finished in gloss and matt horizontal strips: one on the western side forming the garage up-and-over door, and on the east a sliding outer panel protecting the guest-room french-windows (it opens the room up to the garden, visually and literally, jutting from the perimeter when open to form a sort of end stop). Visually and functionally, the complex contains some remarkable shapes; symmetries are broken, points of architectural convergence created. 

The that includes residence and commercial surfaces on the ground floor, is located n the building curtain along a tree-lined slip road within the city of Cremona and it is the result of an experimental project: the aim is to concatenate sectorial typological solutions and articulated architectural volumes in the same structure. The building represents the idea of bright commercial surfaces through refined mirrors on the street, the concept of housing of high residential quality and the notion of two-level suspended villa, an artist's residence, connecting these distinct forms of living in a single complex. Therefore the architecture is multifaceted, appearing a linear street front that in rising exposes projecting volumes, marked by the prominence of glazed walls and primary colors in the cladding, and dematerialized transparent volumes, which form an interruption in the strongly drawn materiality. The intent seems to be directed toward an open and evident confrontation of contrasts and oppositions defined by the project in an architecture that wants to express its own experimental contribution, by volumes, geometric forms (that are regular and orthogonal, but connected in a disruptive combination) and the wall surfaces themselves. 

The fronts programmatically assume the need to offer luminous and perceptual variations, adding to the prepainted aluminum facade cladding a feature of liquidity, by laying down a transparent polyurethane casting so that the colors change as the light changes, in addition, the presence of the light and irregular reliefs makes  indistinct the very material of the cladding.  

The geometry of the volumes is segmented and on the front the upper level is divided into two opposing attics, free on all sides; the thin blue volume is contrasted by a cube in the primary red color, on which a parallelepiped clad in anthracite Rheinzink is grafted and suspended. Volumes orthogonal to the main body on the street front, raised on slender steel pilotis, disarticulate the building in a complex dynamic, which nevertheless remains within a stated and still legible geometry, crowned by flat garden roofs, to offer spectacular views toward the ancient monumental fabric of the city.

The design aims to dematerialize and make the architecture essential, concentrated, even in the sequence of compositional inventions: the interiors, especially in the suspended villa, also obey this logic of introducing an ambivalence of geometries and transparencies, crossing horizontal scans and vertical aspirations, caesuras in the fronts and upward escapes in the interiors. The long blue glazed tunnel, which runs through the body of the building and overhangs the front, is a measure of this ambivalence: it is simultaneously interior and exterior, transparent and protective, it is a boundary and an escape. Thus, the idea of privileged views toward the city also governs the composition of the living quarters: glass windows make the corners of the building dematerialized, staircases with glass steps become almost invisible in interiors punctuated by opaque or reflective walls, by textured maple wood ceilings and by artworks scattered on surfaces and emerging in the space of the living rooms.

In place of anonymous 1960s concrete building formerly a movie theater on a side street in the historic center of Cremona, a building for residential use, an earthquake-proof, energy-smart, acoustically insulated building with underground garages and all modern conveniences, forcefully imposes the theme of contemporary language consistent with the times.

The project is an articulated volumetric decomposition that generates 3 distinct building bodies: an interior block, one along Anguissola Street, and a bridge that connects them on the third floor.

Unique accommodations rewarded by overlooking private roof gardens, covered and uncovered courtyards, and terraces thus create unexpected spaces in an architecture that thrives on open and foreshortened visions, with studied asymmetries and rhythmic alterations always striving for a dynamic balance.  (ph. Roland Halbe)

The project involving the villa situated on the banks of the lake in the Padenghe sul Garda province is a result of the restoration of an existing 1960’s villa. The intervention carried out by the architects Giorgio Palù and Michele Bianchi maintained the existing volume and boundaries of the previous villa, whilst reinterpreting the space in line with a more contemporary style as well as the specific requirements of the clients for two apartments.

The main apartment covers the ground and first floor with frontal access and the second takes up the lower floor with access and views solely from and towards the lake. The privileged position half way between the main coastal road and the private beach allow for the perfect insertion into the surrounding landscape, the flow within which is maintained via the numerous lake side outlooks and the large floor to ceiling windows found in the living area which contrasts well with the more secluded and screened areas of rest. Natural materials were chosen for the final decorative finishes. “Medea” stone used on the face of the main structure of the house, is carried through for use internally on the floors and the dividing walls of the double height stairwell that leads to the other floors.

Housed in the evocative former church of the Disciplini, the Civic Archaeological Museum of Remedello (BS) preserves and exhibits numerous important finds from the lower Chiese area, with a focus on the Copper Age. In addition, ample space is dedicated to the nineteenth-century collection,ì, created by Leone Carlotti during his research in the pile-dwelling sites of the Benaco area, now privately owned.

In 2021 the Municipality of Remedello wanted to redesign the museographic organization of this space, which houses more than 2,000 artifacts.  
In the logic of a museum that is less and less object-oriented and more narrative, the design idea started from an optimal treatment of the museum heritage in an aesthetic, perceptual and communicative sense to reach dissemination, including multimedia, of cultural and scientific contents.

The large exhibition hall, decorated with precious 16th-century frescoes, has been completely reorganized with a layout that facilitates the integration of images and exhibits, makes the museum multimedia and improve its accessibility.  The choice of furniture and structures with essential lines, in deep gray coloring, of varying heights, allows the reading of the frescoes not to be obscured and a better integration of the exhibition in the precious context. 

Winner in 2002 of the European Hotel Design Award, DelleArti Design Hotel is a project capable of combining technology with a new idea of comfort, fitting perfectly into the historical reality of the city of Cremona.

The fulcrum of the building is the C-shaped internal courtyard. In this project the glass windows of the rooms facing a well of natural light are made of burnished brass alloy and selective glass. The only dark side of the courtyard, corresponding to the wall of the neighboring building, has been transformed into an open window to the world of culture and information thanks to three large maxi screens broadcasting different images referring to art installations or cultural and sporting events related to the life and activities of the city and the surrounding area. The Hotel houses rooms with their own intimacy, but virtually open to the world and its events. 

In the corridors distributing the rooms, the corrugated wall, which conceals the installations, on the second floor is modulated in shades of red/gold and black/silver; on the second floor, the walls have gold leaf tanning, while the ground floor is modulated in silver leaf and waxed black bold. (ph. Matteo Piazza)