Please ensure Javascript is enabled for purposes of website accessibility
This site has limited support for your browser. We recommend switching to Edge, Chrome, Safari, or Firefox.

Cart 0

No more products available for purchase

Products
Pair with
Is this a gift?
Add order notes or ask for an invoice
Subtotal Free

Shipping, taxes, and discount codes are calculated at checkout

Modern Riviera 

October 8, 2026

Modern Riviera 

Nello Baroni, Maurizio Tempestini, Pietro Porcinai, La Bussola, Marina di Pietrasanta. In Domus 246, May 1949 

By the middle of the 20th century, after World War II, life was returning to Italy’s coastlines, driven by a desire to rediscover a pleasure, a way of living that seemed possible only in these places. Capri, Sorrento and the Amalfi Coast came back to life, as did Portofino and the Ligurian coast, and Versilia. These were meant to be new times: after the Belle Époque of seaside holidays and the Roaring Twenties and Thirties of the Côte d’Azur, Italy set out to write a new chapter in the art of en bord de mer living. Responding to this demand was a country preparing to define the aesthetics of modernity, in lifestyle as much as in architecture and design. Houses were already there, and many more would follow. But it was above all new spaces that would shape this new landscape, evolving from historical typologies. 

The ballroom and the Kursaal, for example, were giving way to the idea of the club. In Marina di Pietrasanta, towards the end of the 1940s, the Bussola opened “halfway between a private club and a public venue for quality people”.  People danced, had lunch and dinner, and went to the beach at its small bathing facility. From the summer of 1955, it became a legend, taking deep root in international culture: Ornella Vanoni, Fabrizio De André and Patty Pravo on the Italian side; Marlene Dietrich, Aretha Franklin, Chet Baker and Miles Davis helping to paint the portrait of a cosmopolitan society, of what had by then come to be known as the Jet Set. Then came the expansion into Bussoladomani and Mina’s farewell to the stage in 1978. Yet the building where it all began was simple: white-painted brick, reed canes, a modern seaside architecture that retained a sense of memory. Its architects were Nello Baroni and Maurizio Tempestini, together with Pietro Porcinai, one of the founding figures of Italian landscape design. 

Giovanna Polo Pericoli, albergo Abi d'Oru, Marinella di Olbia. In Domus 415, June 1964 

From the outset, however, this modernity would extend beyond entertainment. Moving into hotels, second homes and larger developments, it would profoundly change the way people lived by the shores of the sea.

Not every hotel was an expression of the post-war building boom. Some were experimental projects in their own right, such as Marcello D’Olivo’s complex at Manacore, on the Gargano, shaped by a close interplay between architecture and nature; or the Polo Pericoli project at the Abi d’Oru in Sardinia, where any attempt at imitation is deliberately rejected – before the apotheosis of an invented paradise, the Costa Smeralda – or the sculptural landscape created by Monti GPA at Pugnochiuso.

Gio Ponti, Parco dei Principi, Sorrento. In Domus 415, June 1964 

Gio Ponti in Sorrento perhaps gave the most accomplished expression to such a quest. The power of Parco dei Principi, inaugurated in 1962, lies first of all in it being a modern hotel set within a place with an ancient history. Still, it is in the interiors that this idea becomes an experience: the ceramics, some of them created with Fausto Melotti, bring the Mediterranean into the architecture through a landscape of blue shades that is at once physical and abstract. Once again, the sea becomes a space to inhabit. 

The same search continued through the design of houses. The existing ones were no longer enough: new developments promised, at least in their ideal form, a different kind of landscape, where views, local memory and an international outlook could coexist. The results were mixed. The reborn Italian coast would not escape the damage wrought by development, but these projects remain evidence of another way of living.

At Arenzano, near Genoa, this idea takes on an almost urban dimension. La Pineta, planned and designed by Ignazio Gardella and Marco Zanuso and later joined by architectural gems by Ponti, Magistretti and Caccia Dominioni, brings together houses, a hotel, services and communal spaces. The development suggests a sense of community while also carefully shaping the experience of the landscape and the sea, filtered through openings in the built fabric and framed by slate parapets or massive red architectural forms. A little further west, at Torre del Mare, Mario Galvagni designed everything, from the masterplan down to the window, for another new settlement perched on a promontory. Here, the geometry of houses engages with the forms of the rocks as they descend towards the water. 

Along the Italian coast, something much deeper than the “simple” act of going on holiday was taking shape. Modern architecture by the sea helped invent the Italian summer, embedding in its built forms – intentionally or not, who knows – the potential for other seasons.

Today, those architectures born for summer are facing another transformation. A changing climate is radically altering the length of time spent by the sea: it is changing the very way we inhabit the Mediterranean, as the proverbial shoulder seasons begin to disappear. And these houses, hotels and clubs are coming back into focus, revealing the distance between consuming a landscape and inhabiting it, and showing how the boundary between holiday and everyday life is becoming increasingly blurred. 

Curated by Domus - © Editoriale Domus S.p.A.

Related products

Recent articles