Occupying a historic palazzo in the heart of Florence, Italy, Numeroventi is a contemporary guesthouse and artist residency taking a holistic approach to artistic research and hospitality. It is a space constantly in flux, with an ever-changing programme of events. Numeroventi has no permanent restaurant; instead, a community kitchen plays host to seasonal pop-ups and chefs-in-residence. It is an exercise in interior design that never grows stale, drawing inspiration from the artists who pass through.
Synergy between history and contemporary culture is at the centre of Numeroventi’s project. In operation since 2016, the residency programme has hosted international names such as Dev Hynes and Harley Weir. As an international art hub, and tranquil hideaway for the modern creative and discerning traveller alike, Numeroventi also puts a spotlight on the Florence of today—as more than just a city-scale museum of Renaissance art. Its ‘modern-renaissance’ ethos incorporates the city’s craftsmanship heritage, and feeds back into it through artistic exchange between visiting artists and long-standing ateliers.
Rejuvenating traditions of Florentine splendour and storied artist-patron relationships, the story of Numeroventi is one of honouring a city’s rich past and navigating the sometimes-murky waters that come with it. We sat down with founder Martino di Napoli Rampolla to discuss thoughtful design interventions, the city’s particular qualities, and the future of the residency.
| Rebecca Lally | You grew up in Tuscany—what were you doing before you started Numeroventi? And what brought you back to Florence? |
| Martino Di Napoli Rampolla | I grew up in the countryside between Siena and Florence. During my studies, I started with agronomy and winemaking but later shifted to the Business of Fashion at Polimoda in Florence. I eventually completed my studies in Barcelona as a graphic designer, which led me to work in a communication agency in Ghent, Belgium. That internship, focused on art direction, was something I really enjoyed—it felt like I’d found my path. At the same time, I saw the potential of renovating a building in Florence and starting Numeroventi—back then, it was just one apartment, which I divided into three lofts—so I returned to Florence, the city I once felt I had to escape, bringing with me a fresh perspective and energy. If you ask any young creative in Florence, they’ll tell you the only way to make it is to leave for bigger cities. I decided to challenge that narrative. |
| RL | You have described Florence as having a certain ‘heaviness’, and your design interventions honour the bones of the 500-year-old palazzo Galli Tassi, keeping its original interiors, marble statues and frescoes. What was important to you as you reimagined the space? |
| MDNR | That sense of heaviness, which I’ve spoken about, often comes from the density of Florence—the narrow, dark streets, the lack of green spaces, and the sheer weight of its history. It’s both a physical and a symbolic heaviness. When reimagining the Palazzo, I wanted to counterbalance that density. My approach was to introduce lighter, more contemporary elements that didn’t overshadow the building’s inherent beauty. For instance, I painted the walls white instead of the typical yellow often used by Florentine architects. I incorporated mid-century furniture and intentionally left spaces empty to highlight the beauty already present. Using materials such as wood and resin for the floors helped bring a sense of warmth and modernity. It all comes down to balance—it might sound cliché but, in this context, it was the most radical approach. Looking back at what we did eight years ago, many of those decisions still hold up. I think that’s because we took a preservation-focused approach rather than a purely renovation-driven one. |
| RL | You host artists with diverse practices, giving them the space to deepen their thinking and opportunities for spontaneous collaborative exchange. Is there any kind of throughline you can attribute to the artists who take up residence, and the work you platform? |
| MDNR | Open-heartedness to experimentation, craftsmanship, and research are three values that unite all the artists we host. |
| JL | How do you go about selecting the artists to take part in the residencies? |
| MDNR | It happens organically—through our yearly open call to curators and artists who’ve become part of the Numeroventi family. We’re also slowly building a form of representation, which allows us to deepen the research and connection with our artists. This approach has proven beneficial for many projects. Take, for example, our most recent show in Paris in October 2024. It’s a reflection of how these relationships and values come together in meaningful ways. |
| JL | Have your ambitions, or ethos towards Numeroventi, changed over the last eight years? |
| MDNR | I’m still figuring it out, which I think is a good thing—it means the vision is evolving. The world has changed significantly since I started. There’s now a greater weight on the criteria for choosing projects, accompanied by an increasing sense of responsibility. You find yourself pausing, questioning twice before investing your energy into a project. I’ve also found it essential to give myself—and the artists I work with—more time to deepen research. The biggest challenge is resisting the pull of the fast-paced, fashion-driven system, where there’s an expectation to produce something new every year, no matter what. While that constant output can spark creativity, it also risks flattening everything. It’s refreshing to think of art and design as existing in a cycle without seasons, allowing for a more organic rhythm where possible. Right now, I’m expanding to new locations, which challenges the original philosophy of creating a retreat—a space to escape the velocity of modern life. That was our mission back in 2015, before Numeroventi even began renting rooms. To truly commit to the idea of creating an oasis where artists can slow down, reflect, and be inspired, I believe we need to look beyond the city itself. The Western world is so obsessed with material things that we’ve lost sight of where we come from as human beings. My next focus is shifting from simply supporting the production of art to facilitating the development of consciousness—both spiritual and environmental. |
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