In the heart of Rome, between history and modernity, stands Rhinoceros, a unique project that merges art, design and contemporary architecture. In this conversation with Alessia Caruso Fendi, I retrace the origins and transformation of this extraordinary place, balancing historical memory and innovation.

LEONE: Alessia, tell me how this project was born. What was here before Rhinoceros?

ALESSIA CARUSO FENDI: It was a palace whose oldest part dated back to the 17th century. Before we took interest in it, there were still people living there. The building was in deplorable conditions and it was dangerous even to enter the premises. We couldn’t believe that such a place was in that precarious condition, yet the structure had an incredible soul. So we started imagining how we could transform it. It was 2008, a time when with Fondazione Alda Fendi – Esperimenti we were also working in theater. In a way, the idea of Rhinoceros was born from there—the desire to give new life to a forgotten place.

L: The architectural project has a strong identity. How did you decide to approach the existing structure?

ACF: The goal was to create a place of comfort within the chaos of Rome. We brought in Jean Nouvel, who immediately grasped the essence of what we wanted to do. He got along well with the Cultural Heritage Authority since, of course, everything here is protected. His approach was extraordinary: he respected the building’s past, leaving its historical marks intact—what he called “the wrinkles of the past”—while introducing contemporary elements like steel. If you look at the apartments, each room tells a story—from the original wall colors to writings left by previous inhabitants. To document every historical element, Jean Nouvel wanted to photograph each room as he found it. Now, those photographs are displayed here on panels.

L: So, each apartment is unique?

ACF: Exactly. We found traces of the past everywhere and chose to enhance them. For example, there was a family that used to mark the walls with dates and details—they even drew the family tree. Instead of covering them up, we preserved them. Each apartment has its own soul, with original details complemented by contemporary steel elements that integrate into the historical context without overpowering it. One of the apartments, number 20, was inhabited by Isabella Rossellini during the filming of Conclave by Edward Berger. She loved cooking, and her kitchen was always filled with pasta, with spaghetti, with guests coming over for dinner. It’s amazing to think that these spaces have hosted such remarkable personalities.

L: Another incredible aspect is the lighting. How did this project come about?

ACF: My mother wanted to involve Vittorio Storaro. Before, at night, the area was completely forgotten—there was no lighting, and the area was dark and uninviting. So, Storaro designed a lighting system that enhanced the Arch of Ianus.

We conducted many lighting tests with Jean Nouvel, who also designed and furnished the entire building, viewing the effects from every angle of the street to ensure that the lighting would highlight the building’s character without distorting it. We also worked on the windows, each of which is illuminated with a different color on the outside. Inside, the original curtains were kept to create light and shadow effects, preserving the intimate feeling typical of the apartments.
If you look closely, many windows have double frames that align with the ones below, reproducing the original window design. On the interiors of the apartments, on all the shutters there are photographs of the apartments in their original condition before the renovation. When the shutters are closed, the effect from the outside is a sort of trompe l’oeil that gives an illusory vision of the interiors.

L: Beyond architecture, Rhinoceros has become a hub for art and culture. How did you develop this aspect?

ACF: We wanted it to be a living, ever-evolving space. We host exhibitions and seek out galleries from around the world that have never worked in Italy before. Every six months, we change the galleries, always bringing fresh artistic perspectives. The foundation’s spaces are constantly reinvented. It’s not just a commercial space but an exhibition venue where art interacts with architecture. We will continue to pursue our vision, making Rhinoceros a point of reference for those who love beauty, research, and design.
This project demonstrates how the past and future can engage in dialogue, creating spaces where history is not erased but reinterpreted with sensitivity and innovation.