Nino Mustica left Catania to settle in Milan at the end of the 1980s: first in Corso di Porta Ticinese 38, in the heart of the Colonne di San Lorenzo district, then in Via Giovenale 7.

The atelier, housed in a former 16th-century convent that had been converted over time into a workshop, carpentry and foundry, was transformed into a place of creativity and conviviality. In this courtyard, artists, assistants, friends, critics, students and other artists gathered. The courtyard has a strong historical memory.

Furnishings and design objects by Le Corbusier, Gae Aulenti, Carlo Scarpa, Aldo Rossi, Eero Saarinen, Achille and Pier Giacomo Castiglioni, Ettore Sottsass and Kazuhide Takahama mingle with the tools of the trade. The large windows – over six metres high and facing south-east to north-east – allow diffused light to filter through, free to pass through a series of interconnected rooms, all plastered white and without doors. This spatial continuity creates a feeling of fluidity and uninterrupted breathing space.

Mustica's personal collections are on display in the rooms. These include antique toys, ceramics from Caltagirone and a variety of succulents and cacti. These items reflect his spirit as a collector and his desire to fuse art, nature and design.

The living room, painted cobalt blue – a shade synonymous with relaxation, balance and suspension for Mustica – acts as a filter between the study area and the living area, creating an oasis of relaxation in which to meditate and recharge. This model of "living art" is designed to be replicated anywhere: an emotional architecture in which light, space and objects interact with painting, transforming the studio into a unique creative ecosystem.

In Sicily, Mustica conducted his pictorial research in two successive spaces: first in Via Imbriani 181 and, from the second half of the 1970s, in Via Amore 4.

The new house-studio spans two raised floors (the sixth and seventh), connected by large terraces overlooking Mount Etna. On the seventh floor, Mustica set up a printing press, which was also used for engraving by other artists. Here, assistants and students took turns attending painting lessons and teaching preparation courses in an environment that combined teaching and experimentation.

The terraces, filled with green and succulent plants, create an oasis between the city and the volcano. This oasis offers a stimulating working environment where light, nature and views of Mount Etna blend with the continuity of the interior spaces. This supports the dialogue between artistic creation and educational practice.