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Attic LL
Attic LL
Padua, Italy
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Other Projects by depaolidefranceschibaldan architects
Attic LL
Padua, Italy
The project transforms the second floor and attic of a 14th-century building located in the historic center of Padua, just a short walk from the Eremitani museum complex and the Scrovegni Chapel.
The intervention stems from a process of subtraction aimed at bringing the building's original structure back to light. Surfaces were stripped of recent layers - coverings, plasters, and plasterboard added during previous renovations - to reveal the brick masonry and the wooden roof structure. Bricks, beams, and construction irregularities are left visible without hesitation or concealment, exposing the traces of time and the transformations accumulated over centuries.
Within this bare and essential space, a single contemporary element is introduced: a glossy, mirrored surface that runs through the rooms like a continuous ribbon. This system integrates building services and organizes the primary domestic functions, leaving the original surfaces and materials free to emerge, enhanced through light and reflections, in contrast to the roughness and opacity of the historic fabric.
The solid iroko parquet flooring laid in a herringbone pattern, is the only element preserved from the 1980s renovation. It has been adapted and “cut” to fit the new spatial layout, maintaining a dialogue with the material through large wooden sliding doors with exposed mechanisms that define the central hall and recall the traditional wooden portals of historic palaces.
The bathroom core, the kitchen island, and the dining table are crafted from French Noir Saint Laurent marble. They sit within the space as monolithic elements, forming dark stone masses that enrich the interiors. The bedrooms reinterpret this same principle; for the children’s room, a more playful and colorful language has been adopted, while still maintaining the contrast between the building's historic materiality and the project’s contemporary interventions.
The floor plan retains the typical layout of noble residences, with a double-height central hall around which the rooms are arranged. Suspended within the hall is a mezzanine that connects the attic spaces; entirely clad in reflective metal, it appears as a lightweight volume floating among the historic walls, visually amplifying the perception of space.
On the sleeping area side, a corridor fitted with built-in wardrobes and mirrors leads to the master bedroom with an en-suite bathroom, two additional full bathrooms, and the children’s room. The latter is conceived as a flexible space: a movable partition allows it to be divided into two independent rooms, while small mezzanines take advantage of the roof height to accommodateadditional sleeping areas.
On the opposite side, the social spaces unfold. The kitchen, organized around a central island, connects with the dining area in the main hall, while the living room opens onto a more intimate screening room. From here, a concealed staircase leads to the upper level, which houses a laundry room with service bathroom, a mezzanine gym overlooking the hall, and an additional bedroom with private bathroom.
The intervention stems from a process of subtraction aimed at bringing the building's original structure back to light. Surfaces were stripped of recent layers - coverings, plasters, and plasterboard added during previous renovations - to reveal the brick masonry and the wooden roof structure. Bricks, beams, and construction irregularities are left visible without hesitation or concealment, exposing the traces of time and the transformations accumulated over centuries.
Within this bare and essential space, a single contemporary element is introduced: a glossy, mirrored surface that runs through the rooms like a continuous ribbon. This system integrates building services and organizes the primary domestic functions, leaving the original surfaces and materials free to emerge, enhanced through light and reflections, in contrast to the roughness and opacity of the historic fabric.
The solid iroko parquet flooring laid in a herringbone pattern, is the only element preserved from the 1980s renovation. It has been adapted and “cut” to fit the new spatial layout, maintaining a dialogue with the material through large wooden sliding doors with exposed mechanisms that define the central hall and recall the traditional wooden portals of historic palaces.
The bathroom core, the kitchen island, and the dining table are crafted from French Noir Saint Laurent marble. They sit within the space as monolithic elements, forming dark stone masses that enrich the interiors. The bedrooms reinterpret this same principle; for the children’s room, a more playful and colorful language has been adopted, while still maintaining the contrast between the building's historic materiality and the project’s contemporary interventions.
The floor plan retains the typical layout of noble residences, with a double-height central hall around which the rooms are arranged. Suspended within the hall is a mezzanine that connects the attic spaces; entirely clad in reflective metal, it appears as a lightweight volume floating among the historic walls, visually amplifying the perception of space.
On the sleeping area side, a corridor fitted with built-in wardrobes and mirrors leads to the master bedroom with an en-suite bathroom, two additional full bathrooms, and the children’s room. The latter is conceived as a flexible space: a movable partition allows it to be divided into two independent rooms, while small mezzanines take advantage of the roof height to accommodateadditional sleeping areas.
On the opposite side, the social spaces unfold. The kitchen, organized around a central island, connects with the dining area in the main hall, while the living room opens onto a more intimate screening room. From here, a concealed staircase leads to the upper level, which houses a laundry room with service bathroom, a mezzanine gym overlooking the hall, and an additional bedroom with private bathroom.
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