architettura interior

Page 1

ARCHITETTURA

INTERIOR

Casa al Gianicolo SITO: Roma COMMITTENTE: Privato TIPOLOGIA: Architettura d’ interni CRONOLOGIA: Progetto 2009

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Casa al Gianicolo [ 2009 ] Una casa su 7 livelli di quota. Una sintesi dell’intervento è stata quella di riassumerlo (prima in fase proJHWWXDOH SRL HVHFXWLYD WUDPLWH DOFXQH SRHWLFKH HVWHUQD]LRQL GL *Lz 3RQWL diventate indispensabili elementi di lettura di questa residenza romana: Âł,/ 3$9,0(172 (Âś 81 7(25(0$´ - il disegno del pavimento, a doghe differenziate, scansiona i pieni e i vuoti dei volumi costruiti diventando il tema conduttore del proJHWWR Âł SHUFRUUHUOR VLD XQÂśDYYHQWXUD QRQ VROWDQWR SHGHVWUH´ Âł/$ ),1(675$ (Âś 81$ 75$63$5(1=$ (Âś /$ 9,67$ (Âś /$ 9,7$ ´ - prioritĂ assoluta alla luce e agli affacci a tutta altezza (sia interni – vedi stanza giochi bambino - che esterni). Âł/$ 67$1=$ (Âś 81 021'2´ - raccontare il mondo di una stanza tramite l’architettura degli interni; la cucina e il soppalco-teatro di gioco dei bambini, due monGL D FRQIURQWR VSHFFKLDWL YLVWL H ULĂ€HVVL OÂśXQR QHOOÂśDOWUR ,O PRQdo interno dei giochi di un bambino, visto da una parte, il mondo GHL ÂłJUDQGL´ GDOOÂśDOWUD Âł*OL VSHWWDFROL VSD]LDOL GHOOÂśDUFKLWHWWXUD´

Âł/$ 92/7$ (Âś 81 92/2´ XQD YROWD LQ FULVWDOOR WUDVSDUHQWH SHU HOLPLQDUH RJQL FRQÂżQH YLVLYR H JXDUGDUH ROWUH SHU SRL YHGHUH RPEUH ULĂ€HVVH VXO VRIÂżWWR GHOOD VWDQ]D SDWURQDOH ³LO VRIÂżWWR q LO FRSHUFKLR GHOOD VWDQ]D q LO VXR FLHOR´ Âł/$ 6&$/$ (Âś 81$ 925$*,1(´ - la scala che collega il 4° livello al 7° livello incassata tra tue pareti, distaccata dalle stesse (â€œâ€Śla scala piĂš bella è quella con ogni andata fra PXUR H PXUR &KLXVD 9HGL XQD UDPSD DOOD YROWD H QRQ VDL GRYH ÂżQLVFH 3RWUHEEH QRQ ÂżQLUH PDL 3Xz HVVHUH GL JUDGLQL VFXUL H SDUHWL FKLDUH´ House with seven levels. My almost immediate reaction was to summarize the entire intervention ERWK SURMHFW DQG H[HFXWLYH SKDVHV XVLQJ VRPH SRHWLF VWDWHPHQWV E\ *Lz Ponti, which became essential elements of reading for this Roman residence: Âł)/225,1* ,6 $ 7+(25(0´ WKH GHVLJQ RI WKH Ă€RRULQJ ZLWK GLIIHUHQWLDWHG VWDYHV VFDQV WKH HPSW\ and full building volumes and becomes the main theme of the project. ( Âł ZDONLQJ RQ LW LV DQ DGYHQWXUH DQG QRW MXVW RI D SHGHVWULDQ NLQG´ Âł7+( :,1'2: ,6 $ 75$163$5(1&< ,7 ,6 9,6,21 ,7 ,6 /,)( ´ - top priority to light and the full height views (both internal – see the children’s playroom - and external). Âł7+( 5220 ,6 $ :25/'´ - relating the world of a room through the architecture of the interiors; the kitchen and the loft area dedicated to the children’s playroom, WZR ZRUOGV FRPSDUHG PLUURUHG YLHZHG DQG UHĂ€HFWHG RQH ZLWKLQ WKH other. The internal world of the children’s toys, seen on one side, world RI ÂłDGXOWV´ RQ WKH RWKHU Âł7KH VSHFLDO HQWHUWDLQPHQW RI DUFKLWHFWXUH

Âł7+( 9$8/7(' 522) ,6 $ *(7$:$<´ - A transparent glass ceiling to eliminate all visual restrictions, DQG ORRN EH\RQG WR VHH VKDGRZV UHĂ€HFWHG RQ WKH FHLOLQJ RI WKH PDVWHU EHGURRP Âł WKH FHLOLQJ LV WKH FRYHU RI WKH URRP LW LV LWV VN\´ Âł7+( 67$,5:$< ,6 $1 $%<66´ - the stairway connecting the 4th and 7th level is in the middle of two walls, but detached from the same (“... the most beautiful stairway is the one which meanders between two walls. Enclosed. You FDQ RQO\ VHH RQH Ă€LJKW DW D WLPH DQG \RX GR QRW NQRZ ZKHUH LW ZLOO HQG ,W PD\ QHYHU ÂżQLVK 7KHUH FDQ EH GDUN VWHSV DQG OLJKW ZDOOV´

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8I¿FL Caritas SITO: /DGLVSROL 50 COMMITTENTE: Diocesi di Porto 6DQWD 5X¿QD TIPOLOGIA: Architettura d’ interni CRONOLOGIA: Progetto 2008

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8IÂżFL &DULWDV [ 2008 ] ,O SURJHWWR FRQ UHDOL]]D]LRQH SURJUDPPDWD LQ SL IDVL XIÂżFL DSHUWL ULJXDUGD OD QXRYD GLVWULEX]LRQH IXQ]LRQDOH VX TXDWWUR OLYHOOL GHOOÂśHGLÂżFLR FKH RVSLWD JOL XIÂżFL DPPLQLVWUDWLYL &DULWDV 'LRFHVDQD GL /DGLVSROL &RQsiderata la complessitĂ di gestire il progetto in una situazione di “forte FRQWHQLPHQWR GHL FRVWL´ L PDWHULDOL VRQR VWDWL VFHOWL H XWLOL]]DWL SHU OÂśHVsenziale, senza creare alcuno spreco. Progettare con un budget contenuWR D YROWH q LPSRUWDQWH XQD YHUD VÂżGD SHUFKp SXz VYLOXSSDUH OLYHOOL VXperiori di creativitĂ e di immaginazione. Le richieste della committenza VLQWHWL]]DWH LQ ÂłVSD]LR OXFH DSHUWXUD WUDVSDUHQ]D Ă€XLGLWj´ VRQR VWDte rappresentate con un abbraccio luminoso che, ripetuto sui vari livelli GHOOÂśHGLÂżFLR H SURLHWWDWR D WHUUD VX SDYLPHQWD]LRQH LQ JRPPD LQGXVWULDOH bicolore, diventa segno di accoglienza al visitatore: parte caratterizzante GHO SURJHWWR GXQTXH q OD SDUHWH LQ YHWUR PDWWRQH FKH ULSRUWD OÂśHGLÂżFLR ad una sorta di pulizia generale, distributiva ed estetico-funzionale; parte integrante, invece, è la segnaletica interna, rigorosa e pura (applicata su linee continue bianche di lamiera, a rilievo, quindi distanziate rispetto ai muri) che ridisegna le icone tramite geometrie elementari quali “il FHUFKLR H OD UHWWD´ OH OLQHH FRQWLQXH LQ ODPLHUD SRVVRQR FRQWHQHUH DQFKH informazioni con l’applicazione di supporti magnetici. L’ approccio è stato quello di prendere un po’ le distanze dalla frenesia della matita, del formalismo, dello stile e di concentrarsi sugli elementi basici richiesti. 7KH SURMHFW ZLWK FRPSOHWLRQ VFKHGXOHG LQ SKDVHV RSHQ RIÂżFHV FRQFHUQLQJ WKH QHZ IXQFWLRQDO GLVWULEXWLRQ RQ IRXU OHYHOV RI DGPLQLVWUDWLYH RIÂżFH building of Caritas in Ladispoli (Rome). In view of the current economy phase’s complexity, we have use materials as they’re needed, without waste. Learning to consume less, and better, is important because, apart from anything else, it teaches you to develop previously unknown levels of creativity and imagination. The customer requirements - space, light, RSHQQHVV WUDQVSDUHQF\ Ă€XLGLW\ ZHUH VXPPDUL]HG ZLWK D ÂłEULJKW HPbraceâ€? to visitor that is repeated on various levels of bulding and projected RQ LQGXVWULDO UXEEHU Ă€RRU WKH VLJQ SURMHFW LV WKH JODVV EULFN ZDOO WR EULQJ the building to a kind of general cleaning, and distribution and aestheticfunctional, which he needed. An integral part of the project is the internal signals that was designed rigorously, even designing icons using graphiFV VXFK DV ÂłWKH FLUFOH DQG WKH OLQH´ 7KHVH DUH EULHĂ€\ WKH WKHPHV DRXQG which the “new projectâ€? is formed. The consequential approach allows us to distance ourselves from the mad urge of the pencil, of the “prettyâ€? drawing, of formalism, style and to concentrate on basic elements required.

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Casa | Studio SITO: /DGLVSROL 50 COMMITTENTE: Privato TIPOLOGIA: Architettura d’ interni CRONOLOGIA: Progetto 2003

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Casa | Studio [ 2003 ] Un interno nell’interno. 7DOYROWD L SURJHWWL DFFDGRQR TXDVL VHQ]D VIRU]R (Âś FLz FKH q DYYHQXWR all’interno di questo piccolo spazio di circa 28 mq. Il risultato? Un piccolo studio di architettura e allo stesso tempo uno spazio dove isolarsi: XQ LQWHUQR QHOOÂśLQWHUQR 8Q XIÂżFLR FKH DOOÂśRFFRUUHQ]D SXz WUDVIRUPDUVL LQ ULIXJLR DELWDWLYR XQ ÂłXQLWq GH VXUYLYDQFH´ SHU FRQFRUVL QRWWDWH R VHPplicemente per pensare in solitudine. L’intero progetto muove quindi da un’ipotesi: disegnare una casa/studio apparentemente aderente alle esigenze del proprietario, sottolinearne il carattere spaziale in modo da rendere discontinua (e quindi non scontata) la percezione dello spazio. Dettaglio risolto con inventiva coincidente con i semplici elementi strutturali e di arredo: la centralitĂ di una parete che si trasforma in schermo GL SURLH]LRQH DOOÂśRFFRUUHQ]D OH ÂłSRUWH SDQQHOOR´ D WXWWÂśDOWH]]D FKH VL ODVFLDQR WUDÂżJJHUH GD ÂłODPH GL OXFH´ DO FDODU GHOOD VHUD OH DGLDFHQWL OLEUHULH che ne proseguono e rafforzano il disegno, il gioco di specchi che raddoppia gli arredi e gli spazi oltre a proseguire le linee orizzontali delle PHQVROH VXO PXUR LO OHJJuR FKH FRQ XQD YHORFH URWD]LRQH VL WUDVIRUPD LQ SLDQR GL DSSRJJLR DG HVHPSLR SHU XQ SURLHWWRUH &Lz FKH SUHYDOH q OÂśXVR della linea retta, sinonimo di chiarezza e semplicitĂ , economia, astrazione, la prevalenza dei piani bidimensionali, sempre fortemente accentuati: setti murari, pavimentazioni in gomma, come per gli spazi pubblici, FKH DFFUHVFRQR LO VHQVR GL VFRQÂżQDPHQWR IUD LQWHUQR HG HVWHUQR 1RQFKp LO UXROR FHQWUDOH DVVHJQDWR DOOD OXFH QDWXUDOH R DUWLÂżFLDOH FRQ OD TXDOH il progettista gioca modulandola diffusa, morbida, in costante dialettica FRQ OÂśRPEUD 0D DQFKH OÂśDEROL]LRQH GL RJQL FRORUH FKH QH GHULYD GDL PDteriali stessi, con il prevalere dei diversi toni del bianco (nei muri come nelle opere in ferro o negli arredi), dei toni caldi del legno (ad esempio ÂłLO OHJQR GL SLQR´ QHOOD OLEUHULD D SDUHWH R QHOOR VSD]LR OHWWR H GHO JULJLR antracite del pavimento. Un lusso dato dalla perfezione dei particolari. An inside of the inside. Sometimes projects happen, almost with no effort. This is what happened DW WKH LQVLGH RI WKH VSDFH RI DERXW VTXDUH PHWUHV 7KH UHVXOW" $ VPDOO DUFKLWHFWXUH RIÂżFH DQG DW WKH VDPH WLPH D SODFH WR EH LVRODWHG DQ LQVLGH RI WKH LQVLGH $Q RIÂżFH WKDW ZKHQ QHHGHG FDQ EH WUDQVIRUPHG LQ D OLYLQJ shelter, a “survival unitâ€? to give oneself, all-nighters or simply to think in solitude. The entire project asks for a hypothesis: designing a house /studio apparently adherent to the needs of the owner, underlining the space character so to make the perception of space discontinuous (and so not granted). A detail that is solved with creativity coincident with simple structural elements and home decorating: the centre of the wall that is transformed in a projecting screen when needed, the “doorpanelsâ€? in all their height that is pierced through by “blades of light â€? at sunset, the nearby shelves that continue and reinforce the design, the mirror effects that doubles the decorations and spaces besides following the horizontal lines of the wall shelves, the reading desk that with a fast rotation is transformed into a top (for example for a projector). What prevails is the use of the straight line, synonym of clearness and simplicity, economy, abstraction, the prevalence of bi-dimensional shelves, DOZD\V VWURQJO\ DFFHQWXDWHG VHYHQ ZDOOV UXEEHU Ă€RRUV OLNH LQ SXEOLF spaces, that increase the sense of border violation between inside and RXWVLGH /HW DORQH WKH FHQWUDO UROH DVVLJQHG WR OLJKW QDWXUDO RU DUWLÂżFLDO with which the projector plays modulating it diffused, soft, in constant GLDOHFWLF ZLWK VKDGRZV %XW DOVR WKH DEROLWLRQ RI DOO FRORXUV WKDW GHULves from the materials themselves, with the prevalence of different tones of white (on the walls like in the works of iron or in the decorations), from the warm tones of the wood (for example “the pine wood â€? in the ZDOO VKHOYHV RU LQ WKH EHG VSDFH DQG WKH DQWKUDFLWH JUH\ RI WKH Ă€RRUV

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