Three things came to mind whilst looking at the site of studio GISTO: the externalized architectural guts of Piano and Rogers’ Pompidou Center, Robert Ryman’s paintings where the mounting fasteners were given as much prominence as the paintings themselves and the general ingenious, wildly thorough structural detail of middle to late 20th century Italian furniture (thinking here of most things of that period by Mario Bellini, Gae Aulenti, Vico Magistretti, etc). The work of studio GISTO is just so rich in this manner of foregrounding/celebrating the facets of display — to give as much attention to the support of the piece as the piece itself, is to propose quite a deep and dignified philosophical point.