CASA ALL'EUR

Viale Europa, Rome, Italy

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CASA ALL'EUR

Viale Europa, Rome, Italy

Firm

YEAR

2013

BUDGET

$0 - 10K

Feasibility. Integration. Modern character.
Interiors projects are unique and never equal to one anther:
they adapt to different cities, districts, people, needs, expectations and budgets.
The design process instead, is always the same: starting from the city,
narrowing down to the district, people, keeping in consideration the
needs, trying to fit the expectations and budgets.
Rome, Eur District – 1970.
The tale | abstract of an interview to Federico Fellini.
“In
fact, this is a district that I truly like. I don’t know why I like it
so much, there are many reasons, perhaps the most obvious one lies in
that work of art, the artistic atmosphere, the metaphysical verve, that
it’s even too obvious to be reminded: the metaphysical painting by De
Chirico.
That’s it. But the Eur District gives you a sense of lightness, like
living in the setting of a panting, therefore it expresses a vigour, a
sensation of freedom, since a painting is only characterized by
aesthetic rules, there are no relations, other than those with solitude
and objects. Thus, this district appears to nourish, stimulate this
sense of freedom, of alibi: this sense of something pending, a flat
horizon, an unlikelihood: there are empty homes, uninhabited homes,
buildings created for ghosts, statues”.
Rome, Eur District – 2011- 2013.
The project – The development
We are in a city within a city,
the idea of Piacentini [Eur district’s architect in 1938] was a city of
the future that could combine modernity and classicism of Roman
architecture.
The flat is a duplex of middle-class aspect, articulated on two storeys –
roof-top and penthouse – with an internal area of approx. 150 square
metres, and an external area of 100 square metres, originally designed
by architect Claudio Dall’Olio, together with the entire building,
around 1953.
The distribution of the rooms, especially due to building additions made
in time by the previous owners, appeared complex and not functional, in
terms of organisation of the spaces, paths and services.
Therefore, the new design aimed at regulating the space and re-position
the bathrooms, in addition to fully open the entrance area onto the day
and night areas. The original space was respected- where possible – which turned into the “incipit”,
together with a contemporary mark in dialogue with Eur district, given
by some delicate design choices and exalting a series of contrasts (of
material and formal type). A relation was created between past
and present time, internal and external space, empty and solid
elements, hollow and convex materials, straight and curvilinear
geometries, light and shadow details, and large and narrow spaces.
The
relation between past and present begins when entering the door,
underscored by three components: stairway, wardrobe and closet (the
latter are fixed furnishing elements).
1-
The architectural element represented by the stairway built in the
1950s, is preserved and interpreted in contemporary key, by the
introduction of a shiny white metal handrail and at the base, a fit-flush baseboard of pastel turquoise colour (typical colour popular at that time), almost as to underscore, like using words;
2- The wardrobe at the entrance, finished in fabric, which is an original element, was re-sized in the lower part: this can be accessed from the kitchen, used to store wood;
3- The built-in closet, also dated 1950s, was repositioned, from an
original central area (that was taking up useful space from the adjacent
room), to a new location at the end of the hall, in front of the
fireplace;
It
continues with the Eur District, with pace dictated by the
architectural facades, arcades, building openings and indoors consisting
of cut gres based on an on-site plan [with finished horizontal and
vertical surfaces].
The finish invades any part of the home connected to the exterior: the
entrance, the fireplace, the window panes, the bathrooms and the kitchen
and – if necessary – the relative steps and terraces. When coming
through the doorway of the flat, a rug stands out, continuation of the stairway that bends orthogonally, becoming a place for short rests;
gres is still present, as connection element with the exterior, in the
walls and floors, window panes of the living room, divided in three
areas: they follow a design that narrows the space towards a central
area and expands it at the edges. Gres is also found on the fireplace (communicating with the exterior),
asymmetric and with double exposure on the living room and kitchen,
which is separated from the hallway through a retractable transparent
crystal door, in order not to hide the view of the fire.The fire is always visible when entering any room.
All of the above is combined to a durmast/terracotta flooring with three
different finishes in the baseboard, according to the rooms and needs:
fit-flush in matt white colour (almost anywhere), fit-flush in pastel
turquoise colour (to exalt the stairway), of shiny coved type (where
retractable doors have been installed). A constant relation between
straight and curvilinear lines.
The curvilinear lines are re-proposed (in addition to the stairway),
strengthened by a shiny white colour, on the coved skirting: wall/wall (see living room, kitchen entrance), wall/ceiling (see entrance sitting area and lamp-niche in the office area), wall/floor (coved skirting-baseboard).
The play elements in the space become key design elements in terms of feasibility, integration and modern character.
Feasibility.
This
project focuses on quality, preservation of an identity, and
integration. A measured and controlled project. A work done on the
surfaces as foundations for communication.
Integration.
The
gres material used for the finishes with hallow and convex surfaces,
becomes a tactile material that expresses identity, able to combine
history and culture, to integrate the views of the marvellous external
architectural works.
Modern character.
The modern character is given not only by technological aspects, but
also by the theatrical aspect: the latter must be intended as a series
of metaphors (applied to the object), as it occurs in the change of
scenes on stage, through small gestures or words: in this case, details,
take the place of gestures and words, and joining together come to life
to create the story. - See more at: www.na3.it/project.php?id=68#sthash.UdN4d3HB.dpuf style="position: absolute; top: -1999px; left: -1988px;">Feasibility. Integration. Modern character.
Interiors projects are unique and never equal to one anther:
they adapt to different cities, districts, people, needs, expectations and budgets.
The design process instead, is always the same: starting from the city,
narrowing down to the district, people, keeping in consideration the
needs, trying to fit the expectations and budgets.
Rome, Eur District – 1970.
The tale | abstract of an interview to Federico Fellini.
“In
fact, this is a district that I truly like. I don’t know why I like it
so much, there are many reasons, perhaps the most obvious one lies in
that work of art, the artistic atmosphere, the metaphysical verve, that
it’s even too obvious to be reminded: the metaphysical painting by De
Chirico.
That’s it. But the Eur District gives you a sense of lightness, like
living in the setting of a panting, therefore it expresses a vigour, a
sensation of freedom, since a painting is only characterized by
aesthetic rules, there are no relations, other than those with solitude
and objects. Thus, this district appears to nourish, stimulate this
sense of freedom, of alibi: this sense of something pending, a flat
horizon, an unlikelihood: there are empty homes, uninhabited homes,
buildings created for ghosts, statues”.
Rome, Eur District – 2011- 2013.
The project – The development
We are in a city within a city,
the idea of Piacentini [Eur district’s architect in 1938] was a city of
the future that could combine modernity and classicism of Roman
architecture.
The flat is a duplex of middle-class aspect, articulated on two storeys –
roof-top and penthouse – with an internal area of approx. 150 square
metres, and an external area of 100 square metres, originally designed
by architect Claudio Dall’Olio, together with the entire building,
around 1953.
The distribution of the rooms, especially due to building additions made
in time by the previous owners, appeared complex and not functional, in
terms of organisation of the spaces, paths and services.
Therefore, the new design aimed at regulating the space and re-position
the bathrooms, in addition to fully open the entrance area onto the day
and night areas. The original space was respected- where possible – which turned into the “incipit”,
together with a contemporary mark in dialogue with Eur district, given
by some delicate design choices and exalting a series of contrasts (of
material and formal type). A relation was created between past
and present time, internal and external space, empty and solid
elements, hollow and convex materials, straight and curvilinear
geometries, light and shadow details, and large and narrow spaces.
The
relation between past and present begins when entering the door,
underscored by three components: stairway, wardrobe and closet (the
latter are fixed furnishing elements).
1-
The architectural element represented by the stairway built in the
1950s, is preserved and interpreted in contemporary key, by the
introduction of a shiny white metal handrail and at the base, a fit-flush baseboard of pastel turquoise colour (typical colour popular at that time), almost as to underscore, like using words;
2- The wardrobe at the entrance, finished in fabric, which is an original element, was re-sized in the lower part: this can be accessed from the kitchen, used to store wood;
3- The built-in closet, also dated 1950s, was repositioned, from an
original central area (that was taking up useful space from the adjacent
room), to a new location at the end of the hall, in front of the
fireplace;
It
continues with the Eur District, with pace dictated by the
architectural facades, arcades, building openings and indoors consisting
of cut gres based on an on-site plan [with finished horizontal and
vertical surfaces].
The finish invades any part of the home connected to the exterior: the
entrance, the fireplace, the window panes, the bathrooms and the kitchen
and – if necessary – the relative steps and terraces. When coming
through the doorway of the flat, a rug stands out, continuation of the stairway that bends orthogonally, becoming a place for short rests;
gres is still present, as connection element with the exterior, in the
walls and floors, window panes of the living room, divided in three
areas: they follow a design that narrows the space towards a central
area and expands it at the edges. Gres is also found on the fireplace (communicating with the exterior),
asymmetric and with double exposure on the living room and kitchen,
which is separated from the hallway through a retractable transparent
crystal door, in order not to hide the view of the fire.The fire is always visible when entering any room.
All of the above is combined to a durmast/terracotta flooring with three
different finishes in the baseboard, according to the rooms and needs:
fit-flush in matt white colour (almost anywhere), fit-flush in pastel
turquoise colour (to exalt the stairway), of shiny coved type (where
retractable doors have been installed). A constant relation between
straight and curvilinear lines.
The curvilinear lines are re-proposed (in addition to the stairway),
strengthened by a shiny white colour, on the coved skirting: wall/wall (see living room, kitchen entrance), wall/ceiling (see entrance sitting area and lamp-niche in the office area), wall/floor (coved skirting-baseboard).
The play elements in the space become key design elements in terms of feasibility, integration and modern character.
Feasibility.
This
project focuses on quality, preservation of an identity, and
integration. A measured and controlled project. A work done on the
surfaces as foundations for communication.
Integration.
The
gres material used for the finishes with hallow and convex surfaces,
becomes a tactile material that expresses identity, able to combine
history and culture, to integrate the views of the marvellous external
architectural works.
Modern character.
The modern character is given not only by technological aspects, but
also by the theatrical aspect: the latter must be intended as a series
of metaphors (applied to the object), as it occurs in the change of
scenes on stage, through small gestures or words: in this case, details,
take the place of gestures and words, and joining together come to life
to create the story. - See more at: www.na3.it/project.php?id=68#sthash.UdN4d3HB.dpuf

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Nicola Auciello

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CASA ALL'EUR

Viale Europa, Rome, Italy

CASA ALL'EUR

Viale Europa, Rome, Italy

Product Spec Sheet

Collaborating Firms

Team