welcome to Will Bruder

Architecture Firm

Construction of sports facilities

We are specialized in the design and construction of advanced sports facilities for technologies, materials and products used that make the work efficient and durable over time.

Civil Construction

Alongside the important and demanding projects carried out both in the restoration and industrial sectors, there were important works of civil construction, which allowed us to distinguish ourselves by dynamism and multi-functionality.


In the '80s our company started a series of static and conservative restoration works, on behalf of the Municipality of Taranto, for the Ministry for Cultural and Environmental Heritage and for other Municipalities of the Ionian province.

Industrial Construction

The experience gained has enabled us to operate continuously within the ILP's Iron and Steel plant. Our company is able to offer the Customer a cutting-edge technical-engineering service, using a series of sophisticated instruments and latest-generation machinery.

Our History

Our company was founded in 1975, gradually and successfully entering the civil, industrial and restoration building sector. A careful business planning, supported by the constant use of a technical-administrative staff able to use modern IT systems to improve both the quality of the design and the reduction of time, in addition to costs. All this has allowed us to be on the market for over 40 years.

The First Home

The “First Home” residential project, located along the route of Via Magnaghi, north-east of Tre Carrare Battisti, is an experimental residential convention building based on the idea of sustainable living capable of fostering the growth of an integrated community in the urban context in which it develops. 
First Home fits elegantly in the context of the urban jersey equipped with services of common interest such as the nursery school “Le Mimose” (between Via Magnaghi and via Acton) and the Church “Santa Lucia” (between Via Millo and Via G. Messina) as well as consolidated residential units.

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featured projects

Municipal Property

Restoration Works carried out on behalf of the Municipality of Taranto: recovery of the Palazzo Galeone in the Old City, intended for Asylum, for an amount of about 390,000,000 Lire Recovery and restoration works on some municipal properties in the Old Town (Torre dell'Orologio, Vico Serafico, Vico Pontescuro, ex Albergo Vittoria, Palazzo Fornari).


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Multi-storey car park - Archi district

Civil Construction Construction works for a multi-storey car park in the Archi district, on the former Gs area and area reclamation.


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Service Center for Textiles and Clothing

Civil Construction Works carried out on behalf of the Municipality of Martina Franca (Taranto) and consisting of the construction of a center for textiles and clothing.


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Recent Posts

Tips for Managing and Maximizing Your Office Space

Office is the place where you and your coworkers spend most of the time. You spend less time in home and more in your workplace. It’s a natural phenomenon to like the place where you are comfortable. So if you want to make yourself love your workplace, you have to make it more comfortable. Don’t worry if you think your office is an old place with narrow cabinets and small data holders. By following the tips given below, you can have your office partitioning Perth turn into a new one where you would love to sir the rest of your day.

Have some space

Office must comprise of a small table enough for you to handle along with a chair and a small couch if your work nature involves constant visitors. If not, then you must avoid the big old bulky furniture that has nothing to do with you. It will not only consume a huge amount of space but it will make your office look congested and old. If you like furniture, you can go for foldable office chairs and cushion floor stool mattress that you can unfold or fold anytime.

Office supplies

office supplies

Be careful about choosing the office supplies. At times while adding to the list, we include those things in the office supplies that we might not even use them ever and it will end up in the bin at the end of the month. When you are setting up the stationary and supplies, use trays, stationary separators and standing jars that not only look good but also handles your stuff.

Papers and sheets

Thanks to the IT specialists that we are blessed with latest sort of technologies and we don’t really have to hold our data in physical state anymore. Just have a scanner, perform scanning to any important document and keep it saved in the cloud. If you have some really important piece of paper, just make a file of those documents and keep them clean and straight.


Keep a decent décor in your office and avoid unnecessary paintings and designs. You can use framed quotes and motivational lines and can hang them on the wall or you can also have decent fake flowers and wines and that can be either mounted or placed in the corner of the room.

Light up a little

No matter how advance technology your office has, always have some space for natural light. Even a ray of sunlight is enough for a dark place to glow. Sunlight will not only make your office look brighter but it will also leave a positive impact on your mood thus helping you being more creative.

From “The Architecture of the City” to the Theater of the World

In the critical study of a text that does not want to limit itself and force itself into an exquisitely philological analysis, it is necessary to perform two fundamental operations.

On the one hand, it is necessary to define the temporal coordinates of the text to establish its role and scope within the historical-cultural panorama in which it is born and affirms itself. On the other hand, it is necessary to link the text to the biography of the author and, in the event that the text does not constitute an isolated experience, to evaluate its role and intrinsic scope in relation to the rest of the bibliographic production.
In this perspective, therefore, the study text becomes a pretext, a term that obviously does not underlie provocative ambitions, but alludes to the need to consider the reference text as a starting point: a research tool, a privileged device for the logical construction of a critical discourse starting from the correspondances and associations that such an approach involves and hopes at the same time. 
The Architecture of the City is, therefore, the starting point of a critical path that, incorporating other Rossian texts, his drawings and the main interpretations of his thought, tries an approach to Aldo Rossi’s theory that goes from a point of view different from the classic interpretations of his work.Traditionally, in fact, Rossi’s both architectural and theoretical production is divided into two parts, two great moments that alternate in chronological succession.
Among the many interpretations, it is sufficient to refer to the many texts that Rafael Moneo (1) dedicates to Rossi to be able to see how the opinion of critics and of the history of architecture is that there is a first Aldo Rossi (fully represented by L’Architettura della City), engaged in the logical construction of a scientific and objective theory that aims at a rational re-foundation of the discipline; and a second Aldo Rossi (that of Scientific Autobiography) in which the necessity of a theory becomes essentially a definition of a poetics, in which the individual memory, the necessity of self-description, the overlapping of the individual, the civic and the objectifiable memory inevitability of the subjective component.
This distinction in successive phases has a certain value if we consider the architectural production of Rossi, divided between a first moment of research based on the study of the relationship between the architectural artifact and the city and a second period in which, as Moneo sharply notes, Rossi transformed into a great designer of self-referential forms, of great objects of memory that lose part of their intrinsic value in their relationship with the city. But this same distinction, if applied to the theoretical Rossi, becomes a simplification of the terms of the discourse which, obviously, does not take into account the coexistence in the thought of the Milanese architect of two souls, two opposing and contrasting tensions that do not alternate, but coexist by always on different floors.


I will talk to Milan as a city of architecture in particular modern architecture that maybe in Italy, could not have been born here. I will talk about it in a tendentious, interested way. What I propose to you is a distorted view of history , a vision that chooses, in history, what is needed for your project. Without particular criteria if not one: that of the use of the example . Naturally the example to be used must have a general value, a value capable of going through history and not being valid only when it is produced. 

When, at the beginning of my work, I found myself faced with the theme of the windowed wall, I went to see the windows of Asnago and Vender and I tried to understand their compositional logic, because a logic exists, a reason for their forms and of their arrangement on the facades. Sometimes at the limit of formalism as already said Giolli on “Casabella” in ’43, but always aimed at making us recognize the identity of this element, identity that changes according to its size and its proportions, according to its location and its relationship with other windows. A logic that makes those windows and their composition a sort of common heritage to which everyone can draw.

I understood that this does not happen with all the authors. Not all of them produce forms that increase the common heritage of forms. Many produce personal forms that are not available to anyone. It happens to all [the architects] to realize that they can easily use some forms and instead feel a sense of annoyance to use others. The forms that enter without forcing into the common patrimony are usually simple forms, devoid of particularities, forms that coincide with the reason that generated them. They are forms of authors who are not interested in leaving their mark and who even want their language to be used by others. Giuseppe Pagano considered ffootsteps free to be used by other forms of rural architecture.

This is a prerogative of ancient architecture but it has also been of certain modern architecture, especially in Italy, and especially in Milan. Think of Pagano, Albini, Figini and Pollini, Asnago and Vender. I think none of us would have the problem of resuming the forms, so general, so appropriate and right that we do not allow alternatives at the moment of their proposition. These Milanese authors and others who share the search for right forms, forms without alternatives , base their work on some principles that we can define as rational. A rationality that brings us back to the Lombard Enlightenment as has been said so many times, at the thought of Pietro Verri, at the Discourse on Happiness , published in Milan at the end of the eighteenth century. 

Verri in the Discourse on Happiness writes that “the happiness of the sage begins with himself and then extends to the objects he creates”, and goes on to say that “the happiness of each one of us is fulfilled in public happiness “. I always thought that this thought was very related to our work. With Pietro Verri we can say that the end of our work is public happiness. The culture of some Milanese architects sinks in that period and has grown over time going far beyond, from the beginning, to all kinds of functionalismthat instead circulated in architectural culture in Europe.

Have you ever thought why it is impossible to consider the work of Franco Albini or Giuseppe Pagano as functionalist and what is more in their forms, precisely, what is the purpose of their forms? Franco Albini – my first teacher – has taught us to put into practice, in simple forms, the identity of everything, what everything is. Not only Albini, also other Milanese architects in that period are united by this commitment to the knowledge of the nature of everything: of what everything is, going beyond all functionalism. We can say that the commitment to knowledge is proper to the culture of a city.In the case of Milan it is an extraordinary asset, not yet fully assessed. A heritage to which they have drawn from all parts of the world.

I find it hard to think of Aldo Rossi, an architect known all over the world, outside the culture of his city : a city that Rossi wanted to know analytically , distinguishing the parts, recognizing a law in the ways of its growth. Aldo Rossi has been able to weld the physical form of the city with the thought that produced it in history. He more than any of us has learned from Milan what he has been able to tell with a new and extraordinary mastery. All this happened through the passage, from one author to another, of a single obstinate research on the nature of things.