HAUS MARANELLO
Haus Maranello was designed for a Ferrari and Porsche collector who is, first and last, a host. The cars are the reason people come. What he wanted was a reason for them to stay.
The ground level treats the collection like an exhibition, and the exhibition has an argument. On opposing walls, two quotes face each other across the room: Ferdinand Porsche on one side, Enzo Ferrari on the other. German precision and Italian passion, at eye level, refusing to resolve. Nearby, Niki Lauda and James Hunt share a frame, the most famous version of the same disagreement ever run at speed. Vintage racing photography hangs in dramatic velvet drapery, gallery lighting does the rest, and a casual coffee bar sits at the rear. Shelves are styled around Mark Donohue, the engineer-driver our client has long admired, who won by out-preparing everyone on the grid and quietly settled the argument in favor of both sides.
Look up from the gallery floor and you can already see where the evening is headed. Dan Gurney at Le Mans in 1967, champagne raised beside A.J. Foyt, spraying a podium for the first time in the sport's history. The photograph was placed to be visible from below, so the party is in view long before you reach it, and the staircase becomes an invitation rather than a route.
Upstairs delivers on it. Layered lighting moves the mezzanine through a full range of moods, with three colored fixtures over the bar standing in for a starting light turned sideways. The island bar is the centerpiece: Porsche gears set beneath a glass top and lit from above, machined steel presented like jewelry.
Downstairs the room argues. Upstairs it celebrates. Gurney has been pouring since 1967 and the invitation still works.