Every year, since the founding of their studio, in 1999, by means of unconventional launches, bold projects, non-conformist stands and combinations of a more and more ingenious nature, Quinze & Milan are dead-set on confirming that their products go beyond the simple definition of object design. They tell stories, they attract people, bring them closer together, teach them to know one another, revitalize spaces, attract energies, entice communication. It isn’t for nothing that they are known as “creators of atmosphere”: each object born in the Quinze & Milan studios goes beyond its immediate function to become a “statement” for a certain way of life – dynamic, noisy and provocative. Bold objects, selected to decorate the interiors of famous buildings, such as the Public Library of Seattle, designed by Rem Koolhaas, or the Wyly Theatre in Dallas, helped to draw the attention of the general public and of the press, the latter dubbing Arne Quinze “the bad boy” of design, a combination of punk and Prada. As a matter of fact, he too describes himself as the leader of a hardcore rock band. Presently, over 60 people work in the Quinze & Milan office, in Kortijk, Belgium, in an important historical area. The renovated industrial complex spanning over 10000sqm, comprises, alongside workshops and production spaces, a gallery and a showroom.

Upon being offered the opportunity to design the Museo de la Memoria de Andalucia, in Granada, architect Alberto Campo Baeza set forth to build the most beautiful building in the region, worthy of telling the story of Andalusia to anyone wishing to hear it. After all, the Roman historian Strabo himself, described the inhabitants of the region as being “the most cultivated of all Iberians, with laws written in verse.” Faithful to thi illustrious figure, Alberto Campo Baeza has managed to create a lyrical architecture, proof of his profound appreciation for the history, the culture and the Andalusian spirit. The building itself is a new landmark for the city, designed as an interactive museum open to visitors of all ages and dedicated to the history, society and way of life that define Andalusia. The building was included in a new complex, inaugurated in 2001 by the headquarters of the Caja Granada savingss bank, a work of the same architect.

The 42 million dollar donation by philanthropist William Winspear for the Dallas Opera (the largest donation of this kind in the history of the town) made it possible to attract renowned authors like Foster and Partners for the design of a new building for the Opera House.
The building reinterprets the consecrated shape of the program, that of the horseshoe, in a contemporary manner. Its nucleus, sheltering the main hall with a capacity of 2200 spectators as well as rehearsal spaces and halls for smaller shows, is cut out on a screen of considerable size, made of translucent glass.
The closed off Margret McDermott stage, a space for the first show (the official show, if one is to follow the scheme proposed in the first paragraph of the present text), is a masterpiece of acoustics and correctness in following the specific necessities of building a ballet stage – one that will undoubtedly become a standard in future constructions of this type in the years to follow.

The overall architectural language is a modernist one, with minimalist lines and volumes that are clearly defined and harmoniously entwined. The house doesn't reveal itself to the street, choosing to express itself discretely. The punctual gaps, of varying depths, establish relationships between the various spaces, at the same time conveying the function within. In a manner less usual for Romania, the architects have also taken on the landscape design and proposed that the house be surrounded by a series of landscape "sequences", adapted to the site's slopes. The first such sequence is a "black" garden, facing the street, made up of desert-like plants and bamboo, while, in the backyard, the lawn-garden, the aromatic plants garden and the wildflower garden are entwined like the links of a chain

The overall architectural language is a modernist one, with minimalist lines

"The Academy" is, at the same time, a functional space intended for training sessions for LG partners - architects, consultants - and practical applications, a representative showroom ensemble and a space for relaxing and socializing.
The apparent contradiction between the space's functions - the technical one and the aesthetic one - was solved by inverting the proportions of the two: instead of separating and hiding the areas meant for a technological use, they were brought to the foreground, the aesthetic elements serving only to emphasize the technical objects.
The interior thus becomes an open space, fluid and elegant, where air conditioning devices that serve as an object of study are exhibited and emphasized as if they were works of art.