Stepping inside, the house drops a half-octave. Stone underfoot, plaster cool to the eye, the heat of the day left at the door. The palette is drawn from Asolo itself: bone, ochre, terracotta, cypress green. Postwar Italian works and contemporary pieces from the GUBI Collection sit together without contest. Reading corners not designed for display, but for return. Each room, in Patrizio's phrase, becomes a theatre of objects.
"For me, Palomar is a place that evokes its surroundings. The Veneto is in everything. The hills, the light, the stone. History and the present sit together here, quietly."
Patrizio ChiarpariniAt the far end of the house, the interior continues outward, into the loggia, across the terrace, into the hills. The estate was built for the Italian way of being outside. A long lunch table set for slow afternoons, chairs in French cane around it. GUBI’s Al Fresco Collection scatters across the terrace, with cane, woven and structured materials catching the green of the hills. It does not impose itself on the landscape. It joins it.
As the light turns, Palomar shifts again. The pool holds the last of the sun. Cypress shadows lengthen; the house warms to amber. Lamps lit. A chaise longue pulled close to the water. Patrizio calls this the theatrical hour. The light takes over, and Asolo seems to recall Eleonora Duse and the cultural figures who shaped it. The house has made the day longer.
At Palomar, the Spring 2026 collection finds its place between rooms and ridges, archive and atmosphere. Designed for a life that takes its time, in a house that has been composing itself for years.
