GIUSEPPE AREZZI RECONFIGURES PERUGIA NEWSSTAND INTO CULTURAL HUB
Located along the historic Sant’Ercolano staircase in Perugia, Edicola 518 is a renewed cultural kiosk and micro-architecture conceived by Italian designer Giuseppe Arezzi. Realized for the Laboratorio di Creatività Contemporanea open call, promoted by the Italian Ministry of Culture and won by Edicola 518 under the L’Edicola che Vorrei initiative, the project marks the site’s tenth anniversary. Reopening on June 1st, 2026, the intervention repurposes the historic newspaper kiosk typology, shifting it from a commercial sales stall into an open, community-oriented reading hub and public amenity.
STEPPED OAK MICRO-kiosk EXTENDS READING space ONTO URBAN STAIRS
The project by multidisciplinary designer Giuseppe Arezzi preserves the original exterior envelope while applying a monochromatic red finish that establishes a stark chromatic contrast against the stone staircase. Inside, Arezzi replaces the conventional vendor-counter barrier with a stepped, multifunctional furniture installation built from lacquered oak, concealing technical compartments while providing integrated bench seating. At the core of the timber structure, a stainless-steel fountain supplies free drinking water to pedestrians. The window frames are re-engineered to double as external display racks for independent magazines and art books, while an exterior platform extends outward onto the historic steps to ensure seating remains accessible outside business hours. Extending the program into the public realm, the installation incorporates Ambo, a 20-centimeter-high modular stool-bookstand designed in collaboration with the Seed Festival to negotiate the stairway’s grade shifts as both mobile seating and a display surface.
‘Observing the location of the Sant’Ercolano staircase, I wanted to preserve the daily ritual that historically belongs to the newsstand,’ explains the designer Giuseppe Arezzi. ‘While people once stopped to purchase information, today they pause to process it through rest and reading. I interpreted the kiosk not merely as micro-architecture, but as a versatile, spatial piece of furniture, where every technical element is conceived to foster interaction and the free enjoyment of public space.’
