This year, during the prestigious Milan Design Week, Kaloyan Vasilev unveiled his new collection, Haute Charpenterie. This series consists of furniture pieces that not only serve their purpose but also act as sculptural elements capable of enhancing any space. The collection is the result of long hours of work and experimentation, with each item created with an eye for harmony between form and function.

Haute Charpenterie places Bulgarian design at the forefront of the global stage, demonstrating that Bulgaria has much to offer the international audience. Kaloyan Vasilev manages to combine traditional techniques with modern materials and technologies, creating something truly unique and impressive.

For the designer, this is not merely about presenting new products; it’s an opportunity to reveal new dimensions of perception. He believes that design should be more than just aesthetics—it should evoke emotions and tell stories. This is what makes his furniture so special and significant.

The culmination of this vision is the Five Dimensions bench. Crafted from solid walnut, it is encased in epoxy resin and pierced by a steel axis. This masterpiece symbolizes strength and resilience, combining natural and industrial elements into one whole. The bench not only offers comfort and convenience but also serves as a visual focal point that attracts attention and inspires contemplation.

With the Haute Charpenterie collection, Kaloyan Vasilev proves that Bulgarian design can hold its own on the international stage. His furniture pieces are not just objects; they are genuine works of art deserving of a place on the most prestigious international platforms. They are a testament to the talent and creativity of a young designer who is unafraid to experiment and explore new horizons.

Biography

Kaloyan Vassilev is a young Bulgarian designer whose path in the world of art and high design began at an early age. Trained in Vienna and graduated from the Forestry University in Sofia, he created the KV Design studio – a space in which he experiments with materials and transforms furniture into sculptures with function. Awarded the “Furniture of the Year 2024” award for his Smart Desk, Kaloyan is now expanding his vision beyond the traditional – into collections that combine emotion, form and innovation.

Today, Kaloyan views design not as an object, but as an experience. His works open up a space for a new perception – between light and form, between reality and illusion. Each of his works and the hard work of the KV Design team is an invitation to feel how matter can speak and change the way we see the world around us.

Participation in Milan and Monaco

Kaloyan’s previous participation in Milan Design Week in 2024 became a turning point for his work. There, he discovered the power of design as a universal language that can connect cultures, ideas and visions. The encounter with the global scene gave him not only confidence, but also inspiration to take a new direction – towards projects that go beyond practicality and approach abstract art.

Thus, for this year’s edition of the Milan Design Week, the Haute Charpenterie collection was born – furniture created as sculptures with function, which put Bulgarian design in dialogue with global trends. For Kaloyan, this is a way not just to present objects, but to reveal new dimensions of perception, worthy of the most prestigious international stages. The culmination of this vision is the Five Dimensions bench – made of solid walnut, encapsulated in epoxy resin and pierced by a steel axis.

Five Dimensions

DESIGNERS Kaloyan Vasilev
DIMENSIONS (CM) h 47 / w 47 / l 160
MATERIALS walnut wood / epoxy resin / stainless steel
EDITION edition of 1 + 3
LEAD TIME 12-20 weeks
FINISH varnish gloss / oil
COLOR OF EPOXY transparent

More than a bench, it is a shifting experience: each angle reveals a new truth, a whole dissolving into fragments, fragments converging into form. The piece plays with perception, creating illusions where matter bends into light. It is not simply an object, but an exploration of how reality refracts—where design becomes art, and the visible becomes infinite – simply a sculpture with function.

This work that takes KV Design to Monaco Art Week – thanks to the collaboration with One Gallery and the trust of Desislava Zafirova, who recognizes the power of his vision.

There, Five Dimensions is presented alongside the works of Hristo Javashev – Christo, Salvador Dali and other world names. For Kaloyan, this is not just a participation, but proof that Bulgarian design can take its place among the most significant voices in art and culture.

The collection Haute Charpenterie by KV Design

„We strive to craft designs that are not just complete in form but also entirely unique. To achieve this uniqueness, we work extensively with epoxy resin, a material that offers endless possibilities for combining colors, textures, and materials. Each piece is meticulously handcrafted—our combined expertise in sculpture, woodworking, and resin artistry ensures the highest level of craftsmanship and quality.”
KV Design

Here are some of the works in the collection:

Next steps

Kaloyan Vassilev’s gaze is now directed towards the future. After his successes in Milan and Monaco, he feels his mission more and more clearly – to inspire Bulgarian artists and awaken creativity in the people around him. For him, design is not just matter, but a spark that can awaken new ideas and draw attention to the beauty in everyday objects. The upcoming year promises even larger challenges – participation in international competitions, new collaborations with artists, as well as projects that go beyond furniture design. KV Design will continue to cross the boundaries between function and art, turning each of its creations into a symbol of the aspiration for a new dimension – where the local rises to the global, and imagination becomes reality. A new chapter is ahead – not just bigger, but bolder and more inspiring. A chapter in which Bulgarian design will resonate more strongly on the world stage, and each subsequent work will carry within itself the promise of new horizons, transforming matter into poetry and furniture into an experience.

Contacts

Showroom: Sofia 1505, 41 Shipka Street
web: kvdesign-bg.com

The photo material in the article was provided to ARTMEDIA by Kaloyan Vasilev – KV Design Ltd.

Source: ARTMEDIA

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Origins and Context

The Legacy of Pop Art

To understand the emergence of Neo-Pop, it is crucial to first examine the context in which it arose. Pop Art, which flourished in the 1950s and 1960s, was a reaction against the prevailing abstract expressionism of the time. Pop artists, such as Andy Warhol, Roy Lichtenstein, and Claes Oldenburg, turned to popular culture and mass media as their primary sources of inspiration. They celebrated the mundane and the commercial, elevating everyday objects and images to the status of high art.

Social and Cultural Shifts

By the late 1970s, society had undergone significant changes. The rise of consumerism, globalization, and the proliferation of mass media had reshaped the cultural landscape. Artists began to grapple with these shifts, seeking ways to express the complexities of a rapidly changing world. In this context, Neo-Pop emerged as a natural progression from Pop Art, offering a fresh take on the same themes and motifs.

Key Figures and Movements

Jeff Koons

Jeff Koons is perhaps the most emblematic figure of the Neo-Pop movement. Known for his larger-than-life sculptures and appropriations of kitsch and consumer culture, Koons has consistently blurred the lines between high and low art. His works, such as the inflatable rabbit and balloon dog sculptures, evoke a sense of playfulness and nostalgia, while also critiquing the commodification of art and desire.

In the case of “Michael Jackson and Bubbles,” he uses the image of the pop icon Michael Jackson, who was at the peak of his fame at the time, to comment on themes such as celebrity, media culture, and personal life. The wide smile of Jackson and the innocent look of Bubbles create a contrast between the public image of the star and the reality behind the scenes.

The sculpture is made of porcelain with a height of about 30 cm and is part of Koons’ series called “Banality”.  It has been exhibited in various galleries and museums around the world and remains one of Koons’ most famous works, continuing to provoke interest and discussion about the relationship between art and popular culture.

Takashi Murakami

Takashi Murakami, a Japanese artist, brought a unique perspective to the Neo-Pop movement by blending traditional Japanese aesthetics with Western pop culture references. His Superflat style, characterized by bright colors, flat planes, and manga-inspired imagery, challenges conventional notions of East-West dichotomies and celebrates the fluidity of global culture.

This installation, presented by Creative Time, creates a paradoxical and ironic co-existence of the Japanese Neo-Pop and the formal elegance of the classical Beaux-Arts architecture of Grand Central Terminal.

Damien Hirst

Damien Hirst, another prominent Neo-Pop artist, gained notoriety for his provocative and often controversial works. His use of dead animals preserved in formaldehyde, such as “The Physical Impossibility of Death in the Mind of Someone Living” (1991), confronts viewers with mortality and the fragility of life. Hirst’s work reflects a deep engagement with the intersection of art, science, and commerce.

Hirst is known for his dot-compositions, also known as the Pharmaceutical Paintings. They imitate the molecular structure of an addictive, potentially deadly substance that cannot be accessed without a doctor’s consent. In this way, these paintings are a witty commentary on the multi-billion dollar pharmaceutical industry that hands out drugs like candy.

Richard Prince

Richard Prince is an American artist, photographer, and sculptor known for his provocative and conceptual works. Born in 1949, he gained prominence in the 1980s with his work in appropriation art, where he used existing images from popular culture and reinterpreted them through his unique style.

One of his most famous works is the series “Nurse Paintings,” which includes the iconic piece “Runaway Nurse.” This painting features an image of a nurse taken from the cover of a 1950s novel. Prince alters the original image by adding bright colors and other elements, creating a new interpretation that comments on themes such as sexuality, media manipulation, and pop culture.

“Runaway Nurse” exemplifies how Richard Prince challenges traditional notions of art and authorship by using pre-existing images and transforming them into something new and provocative. His works often explore questions about authenticity and originality in contemporary art, as well as the influence of mass culture on our perception of reality.

Stylistic Features

Appropriation and Reinterpretation

A defining characteristic of Neo-Pop is its reliance on appropriation and reinterpretation. Artists draw from existing images and objects, often found in popular culture, and repurpose them in new contexts. This process not only pays homage to the original source material but also invites viewers to reconsider their assumptions about value and meaning.

Consumer Culture and Mass Media

Neo-Pop artists frequently engage with consumer culture and mass media, reflecting the omnipresence of advertising and branding in daily life. By incorporating logos, product packaging, and other commercial symbols into their works, they highlight the pervasiveness of consumerism and its impact on individual and collective identities.

Playfulness and Irony

Many Neo-Pop works exhibit a playful and ironic tone, often juxtaposing highbrow and lowbrow elements to create unexpected combinations. This juxtaposition serves to destabilize traditional hierarchies and challenge established notions of taste and value. The use of humor and satire allows artists to critique societal norms and expose underlying tensions.

Scale and Spectacle

Scale plays a significant role in Neo-Pop, with many artists creating oversized versions of familiar objects and images. This emphasis on scale enhances the impact of the work, making it more visually arresting and engaging. Additionally, the spectacle inherent in these large-scale pieces contributes to their ability to capture the attention of a mass audience.

Critical Perspectives

Critique of Consumerism

At its core, Neo-Pop offers a critique of consumerism and the commodification of art. By appropriating and recontextualizing commercial imagery, artists expose the mechanisms of capitalism and question the role of consumption in shaping individual and collective identities. This critical stance aligns with broader cultural debates about the ethics of consumer culture and the environmental impact of excessive consumption.

Identity and Representation

Neo-Pop artists often explore themes of identity and representation, particularly in relation to gender, race, and class. Through their works, they challenge dominant narratives and offer alternative perspectives on marginalized groups. For example, artists like Kara Walker and Mickalene Thomas use appropriated images to confront racial stereotypes and celebrate black identity.

Technology and Globalization

The integration of technology and the effects of globalization are recurring themes in Neo-Pop. Artists utilize digital tools and multimedia platforms to create immersive and interactive experiences, reflecting the increasingly interconnected nature of contemporary life. Moreover, the global reach of Neo-Pop demonstrates the permeability of national borders and the homogenizing effects of global culture.

Lasting Impact

Influence on Contemporary Art

Neo-Pop has had a profound influence on contemporary art, inspiring subsequent generations of artists to engage with popular culture and mass media. Its emphasis on appropriation, playfulness, and criticality continues to shape artistic practices across disciplines. Furthermore, the commercial success of Neo-Pop artists has contributed to the growing acceptance of art as a commodity, blurring the lines between art and commerce.

Public Engagement and Accessibility

One of the strengths of Neo-Pop lies in its accessibility and appeal to a broad audience. By drawing from familiar imagery and addressing universal themes, these works resonate with viewers from diverse backgrounds. This accessibility fosters greater public engagement with contemporary art, encouraging dialogue and debate around important social and cultural issues.

Market Value and Commercialization

The commercial success of Neo-Pop artists has led to increased market demand for their works, driving up prices and transforming the art world. Auction houses and galleries now feature prominently in the careers of many Neo-Pop artists, raising questions about the relationship between art and money. Critics argue that this commercialization can compromise artistic integrity, while proponents contend that it expands opportunities for artists and supports the growth of the art market.

The Neo-Pop movement in art represents a dynamic fusion of past and present, paying homage to the legacy of Pop Art while addressing the complexities of contemporary culture. Through their innovative use of appropriation, playfulness, and criticality, Neo-Pop artists have redefined the boundaries of art and engaged with pressing social and cultural issues. As we look ahead, it is clear that the influence of Neo-Pop will continue to shape the trajectory of contemporary art, inspiring future generations to explore new avenues of creative expression and critical inquiry.

Source: ARTMEDIA

The article Neo-Pop Movement in Art first appeared on ARTMEDIA.BG.

The figure was a central point of mastery for the artist, and he was in fact the first to reintroduce the nude sculpture. With the addition of realistic proportion, emotionality, and expression to his subjects whether they be mythic, historical, or everyday people, he created works that conveyed a genuine reality over the idealized imagery of before.

David Victorious, bronze, partly gilded, by Donatello, about 1435 – 40, or later, Florence, Italy. Museo Nazionale del Bargello.
Photo: Rabe via Wikimedia Commons

This small but exquisite bronze is one of Donatello’s most famous works. It is a five foot, freestanding bronze sculpture of David, from the classic story David and Goliath. He stands in contrapposto, a traditional classical stance of bearing more weight on one leg than the other. Instead of being depicted as a powerful man, he is presented as a young, nude boy wearing an unusual hat wreathed with laurels (a motif of victory), and a pair of elaborately gilded boots. This unconventional arrangement, combined with the figure’s long hair, delicate features, and slim figure make the work a provocative, coquettish and effeminate piece. Another strange factor is that one wing of Goliath’s helmet is considerably longer than the other, and points up the figure’s leg to the groin. The work has been a key touch-point for arguments over Donatello’s sexuality.

These speculations aside, Donatello’s David is important both in technical terms and in terms of the artist’s treatment of his subject matter. It was the first free-standing male nude sculpture produced since antiquity, and controversial for a non-pagan, biblical figure. Beyond the bold reintroduction of the nude in art, art historian Dr. Beth Harriet also pointed out about this Early Renaissance period, “sculpted figures have finally been detached from architecture and are once again independent in the way that they were in ancient Greece and Rome. And because he’s freestanding, he’s more human, more real. He seems able to move in the world, and of course the contrapposto does that too. It’s easy to imagine this figure in the Medici palace garden, surrounded by the ancient Greek and Roman sculpture that they were also collecting.” Indeed, due to its small stature and location, the statue was designed to evoke an intimate experience for visitors of the family.

Donatello was a prolific master of many mediums including stone, bronze, wood, stucco, clay, and wax. He was the first to illustrate the art of sculpture among the modern artists. His versatility and ingenuity would lay a foundation for many future sculptors looking to discover new possibilities in materiality

Source: https://www.theartstory.org/

The article David Victorious (1435-40) by Donatello first appeared on ARTMEDIA.BG.

Donatello would become known as the most important sculptor to resuscitate classical sculpture from its tomb in antiquity, through an invigorated style that departed from the Gothic period’s flat iconography. He broke ground by introducing new aesthetics in line with the time’s flourishing move toward Renaissance Humanism – a movement that emphasized a departure from medieval scholasticism and favored deep immersion into the humanities, resulting in art that no longer focused solely on the secular realm of religion but explored man’s place in the natural world. Donatello’s signature lifelike and highly emotional works would place him as one of the most influential artists in 15^th century Italy, and an early forefather to the Italian Renaissance.

Donatello – St. George
Museo Nationale del Bargello, Florence

Source: https://www.theartstory.org

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The Trevi Fountain in Rome

The Fountain of Trevi is a famous fountain in a famous city, therefore, you can imagine how often it has been used in movies throughout the years. In fact, it has appeared in more than six movies such as Roman Holiday (1953), Sabrina Goes to Rome (1998), and La Dolce Vita (1960). Who created this beautiful fountain, though?

 The Fountain of Trevi in Rome, Italy; Photo2021, CC BY-SA 4.0, via Wikimedia Commons.

Nicola Salvi, The Designer of the Fountain of Trevi

In 1717, Salvi was accepted to the Roman Academy of Arcadia after completing studies in philosophy and mathematics. Antonio Canevari, the King of Portugal’s architect, was his architectural instructor. Canevari traveled to Lisbon in 1728, and Salvi pursued his work in Rome.

Pope Clement XII launched bids for two big projects in 1732. One project was to build a new facade for the cathedral of Saint John Lateran, while the other was to build a public fountain in Trevi. Alessandro Galilei won the previous competition, although Salvi’s design received a lot of attention. Nevertheless, Salvi’s concept for the fountain was chosen above proposals by Luigi Vanvitelli and Ferdinando Fuga. Salvi died before his companion Pietro Bracci finished the fountain in 1762.

 Close-up of the inscription above the Trevi Fountain. Translated, it reads: “Clemens XII Pontifex Maximus decorated the Virgin Aqueduct and committed it with abundance and salubrity to the cult in the Year of the Lord 1735, 6th year of his pontificate”; Benjamín Núñez González, CC BY-SA 4.0, via Wikimedia Commons.

The History of the Trevi Fountain

The Trevi Fountain is as mysterious as it is beautiful. Despite its majesty, it is nestled between little streets, where you can barely hear the sound of water fountains before rounding the corner and being met by this gigantic monument. The fountain is erected at the intersection of three highways, at the last point of the Acqua Vergine, one of Rome’s most vital aqueducts that provides water supply to Rome.

Acqua Vergine is the present-day aqueduct that emerged from the Aqua Virgo, which was built in 19 BC by Marcus Vipsanius Agrippa out of a need to provide residents with proper public services.

The Roman Empire had a special and historical connection with water, and Ancient Romans were excellent engineers capable of performing remarkable feats for their time. Water from the surrounding hills poured into the city due to gravity and was then collected in cisterns that produced an energy vacuum, forcing the water to shoot out of specialized fountains.

The project was discontinued when the Pope died, however, some of Bernini’s proposals were adopted into designs a hundred years later. Pope Clement XII organized a competition to remodel the fountain in 1730, and the project was eventually awarded to Nicola Salvi. Work started in 1732 under Salvi’s supervision and was completed in 1762.

Restoration

The fountain was repaired twice, initially in 1988 to eliminate smog discoloration and once more in 1998; the masonry was cleansed and all fractures and other indications of decay were restored by experienced artisans, and recirculating pumps were installed.

The Italian fashion house Fendi revealed in January 2013 that it was going to support a two-year 2.2-million Euro repair of the fountain, which would be the most comprehensive repair in the fountain’s history.

Work on the restorations started in June 2014 and was finished 17 months later. On the night of the 3rd of November 2015, the Fontana di Trevi was relaunched with an official event. Over 100 new LED lights were installed as part of the repair to increase the fountain’s evening illumination.

Iconography

The fountain, which was elaborately carved out of Travertine stone taken from neighboring Tivoli, represents the god of water, Oceanus, in the central alcove, surrounded by Salubrity and Abundance. A number of horns and tritons bring balance to the fountain under the deities. The Papal Coat of Arms is hung by angels at the pinnacle of the fountain.

The fountain is set against the Palazzo Poli, which has been given a new facade with a massive order of Corinthian pillars connecting the two major stories.

 Facade of the Trevi Fountain in Rome, Italy; Chabe01, CC BY-SA 4.0, via Wikimedia Commons

The Palazzo Poli is a palace situated right behind the Fountain of Trevi. To make more room for the construction of the Fontana di Trevi, the palace’s central section was demolished in 1730. Inside the Palazzo Poli is a museum that contains a collection of engraving plates made from copper dating from the 16th century. A dynamically designed triumphal arch is overlaid on the palace facade in the center. The columns in the middle niche framing Oceanus provide the maximum light and shadow play.

Horses and Tritons give a symmetrical equilibrium to the fountain, displaying the most variation in positions and attitude.

 The Fountain of Trevi in Rome, Italy; patano, CC BY-SA 3.0, via Wikimedia Commons

Coin Throwing Into the Fountain of Trevi

It is believed to be good luck to throw a coin into the waters of the fountain, and an estimated 3,000 euros get thrown into it every single day! It has been estimated that around $1.5 million worth of coins were thrown into the Trevi Fountain in Rome in 2016 alone! Apparently, the correct way to toss your coin into the Trevi fountain is by throwing it over your left shoulder with your right hand.

Even if it hasn’t proven lucky for those who throw the coins, it has still provided luck in the form of relief for the needy.

 Newlyweds each throw a coin into the Trevi Fountain. Famous throughout the world, the Trevi Fountain is the work of Nicolo Salvi (1732). It is the object of a custom that consists of throwing a coin with her back turned to be certain of returning to Rome. In the case of newlyweds making this gesture together, it is a guarantee of marital happiness; Jean-Pierre Dalbéra from Paris, France, CC BY 2.0, via Wikimedia Commons

The coins are collected and the funds are put into special top-up cards which are given to the poor who can then go and buy groceries from a subsidized grocery store. In 2005, four of the fountain’s cleaners were arrested for stealing the coins as they cleaned.

The charity that received the coins notice a dip in the number of funds they were receiving and notified the council.

People often try to take coins out of the fountain though, and in 2003, a woman had her charges dropped after she argued to the judge that the money had been thrown away and didn’t belong to anyone. One famous coin stealer took euros from the fountain for around 34 years.

 Fishing coins from the Trevi Fountain; User:Lalupa, CC BY-SA 3.0, via Wikimedia Commons

Awesome Facts About the Trevi Fountain in Rome

We have discovered who designed the Fontana di Trevi and what it looks like. We have learned about the history of the Trevi Fountain.

Now it is time to look at a few interesting facts about the famous Fountain of Trevi in Rome.

 A photograph of the Trevi Fountain by Paolo Monti, 1975; Paolo Monti, CC BY-SA 4.0, via Wikimedia Commons

It Is One of Rome’s Oldest Water Sources

The Trevi Fountain goes back to the installation of the aqueduct in 19 B.C., which supplied water to the Bathhouses and fountains of ancient Rome.

The Aqua Virgo is claimed to be named after a young Roman girl who brought thirsty troops to the spring to drink.

Salvi Was Not the First Choice for the Architect

Pope Clemens XII organized a design competition for a new fountain in 1730. Many notable architects competed, but Nicola Salvi was ultimately chosen to create the fountain, despite some beliefs that he was not the first choice. Alessandro Galilei, a designer from the same line as the famed scientist Galileo, first obtained the commission for the design, but following a public uproar, the commission was eventually handed to Salvi.

What was the cause of the public’s outrage? Salvi was a local Roman designer, but Galilei was a Florentine.

The Trevi Fountain in Rome Is Made From Travertine

Travertine stone is the same material that was used in the Roman Colosseum. Travertine is a calcium carbonate mineral created from spring liquids, particularly hot springs; the most likely origin was the village of Tivoli, some 22 miles from Rome. Many people were wounded and a few killed while working with the massive pieces of stone during construction, such as in 1734, when a stonecutter was squashed by a big block of travertine.

 View of the Fountain of Trevi in Rome, Italy; Andrés Nieto Porras from Palma de Mallorca, España, CC BY-SA 2.0, via Wikimedia Commons

The Fountain of Trevi Uses Loads of Water

Every day, the fountain pours around 2,900,000 cubic feet of water due to water pouring from several sources and the enormous pool in front!

But don’t worry, the water is now recycled.

The Fontana di Trevi Has Appeared in Different Colors for Various Occasions

Following the passing of the actor Marcello Mastroianni in 1996, the fountain was switched off and wrapped in black crepe. Mastroianni appeared in La Dolce Vita (1960), a film whose most iconic scene was shot in the Trevi Fountain, lifting the fountain to new heights.

The fountain changed color in 2007 after someone spilled a liquid substance into it, turning the water bright red. Because the fountain has a closed loop water system, the water that poured from it became red as well. While there was concern that the liquid might permanently harm the fountain, the water was emptied quickly enough that no damage occurred, simply a group of somewhat shocked tourists!

The Trevi Fountain, Rome’s most recognized water feature, has become one of the city’s must-see monuments, not just for its grandeur, but also for its intriguing history. Regardless of the fact that it was built later than the majority of fountains in Rome, the fountain has ancient origins. It was in fact constructed alongside the Aqua Virgo Aqueduct, which was completed during the reign of Emperor Augustus and is the only still operating ancient Aqueduct of the Roman Empire!

Frequently Asked Questions

Where Is Trevi Fountain Located?

The famous water feature is located in the Trevi district in Rome. The area was given that name because the word Trevi means refers to a place where their roads meet. The water fountain had actually been there a long time before the monument was built around it, and had been used for many years as a place to replenish water for travelers and locals. Straight behind the fountain is the Palazzo Poli, a palace that was altered to make room for the monument that was to be built in front of it.

Who Designed the Fountain of Trevi?

Nicolas Savli was behind the Trevi Fountain’s architecture after he won a competition for the commission created by the Pope. He was apparently not the first winner that was chosen though. A relative of Galileo named Alessandro Galilei originally won the competition, yet Salvi eventually replaced him following a huge public outcry about Galilei winning the commission. Locals were not at all happy with the first choice as Alessandro Galilei was an outsider from Florence, whereas Nicola Salvi was a local designer.

Why Do People Throw Coins Into the Trevi Fountain in Rome?

Throwing coins into the Fontana di Trevi is supposed to bring good luck. It didn’t bring good luck to the employees who were arrested for pocketing coins when cleaning the fountain though! It is estimated that around 3,000 euros end up in the fountain every day, but it doesn’t go to waste though. The coins are regularly collected and are used to help feed the poor people of Rome by providing them with a card that is pre-loaded with funds raised from the collection of coins. The card can then be used at a grocery store that has been created for them. It is a great system as it is not a small amount of money. It was estimated that there was around 1,5 million euros worth of coins collected in 2016 alone!

Source: https://artincontext.org/trevi-fountain-in-rome/

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