Add To Collection
Add to Collection
Casa della Musica
Casa della Musica
Arborea, Italy
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
Other Projects by Studio Associato di Architettura LERUA
Casa della Musica
Arborea, Italy
Type
STATUS
Built
YEAR
2024
SIZE
5000 sqft - 10,000 sqft
BUDGET
$500K - 1M
Photos
The building undergoing renovation overlooks Corso Italia, one of the founding axes laid out in the 1920s, during
the birth of the “Mussolini Village,” now known as Arborea. The surrounding urban fabric is still marked by the
memory of that original layout: a built landscape in which early twentieth-century architecture dictates the
rhythms and volumes. Within this context, the former Workshops and House of Artisans fits morphologically
coherently, but long neglect and incongruous interventions have compromised its architectural and landscape
identity.
The project for the new House of Music was born as a gesture of regeneration: an operation not only of structural
restoration, but also of restoring its meaning and function. The building, in an advanced state of decay—with
portions of collapsed roofing, cracked walls, deteriorated plaster, and features foreign to the original layout—is
being reintegrated into the urban fabric through a respectful and transformative approach.
The building envelope has been completely restored: the roof, rebuilt according to the original design, is now
punctuated by laminated wood trusses and a new technological package that ensures insulation and comfort.
The facades have been restored, enhancing the pattern of the openings and restoring the original proportions,
particularly on the internal front. The fountain on Corso Italia has been retained as a sign of historical continuity.
Particular attention was paid to the blind façades—the two characterless ends—redefined through the
introduction of a new recessed entrance, conceived as a strong and recognizable architectural feature, capable
of directing the gaze from the street and suggesting access to a renewed space.
However, the resources currently available have only allowed the construction of the first functional phase,
relating to the consolidation of the architectural envelope. The interior spaces and the garden, already designed
organically and coherently with the overall layout, will be realized in a later phase.
The interior design project envisions a large, unified space, deliberately left free of rigid partitions: an open,
flexible space designed to host events, group activities, and informal gatherings. Next to the entrance, a reception
and management area will serve as a reference point for visitors and users. The interior layout will be
guided by two walls, high but not reaching the roof, designed to suggest an orderly flow without interrupting
the overall perception of the volume.
The exposed trusses remain the focal point of the space, like a suspended
wooden score, punctuating the height and guiding the gaze along the entire nave.
The connecting space created by the walls leads to the music area: two rehearsal rooms of varying scale, designed
for individual and group activities, will be separated by a central technical core—an instrument storage
area and acoustic barrier—that will ensure acoustic independence between the two functions. A recording
studio will complete the layout, along with, in the side section, changing rooms and restrooms for artists and
the public.
At the back of the building, enclosed within the historic walls, the auditorium will take shape: a large, slender
volume capable of hosting concerts, theatrical performances, and public events. Its dramatic character will
be achieved not only by its capacity, but also by the internal verticality that gives the space a sense of spaciousness
and solemnity.
Outside, the project expands into a landscaped dimension. The garden, which will also be created in the second
lot, is inspired by the Renaissance “teatro di verzura”: a small open-air theater defined by green wings, where
laurel and other plants delimit the stage and protect it from urban noise thanks to a natural sound-absorbing
barrier. A space for listening, resting, and meeting, immersed in greenery and sound.
Thus, the former Workshops and House of Artisans is preparing for a profound transformation: from a productive
architecture to a civic and cultural space, a focal point for Arborea’s community life. A building that, in its new
cycle, will continue to produce — no longer goods, but relationships, knowledge, and beauty
the birth of the “Mussolini Village,” now known as Arborea. The surrounding urban fabric is still marked by the
memory of that original layout: a built landscape in which early twentieth-century architecture dictates the
rhythms and volumes. Within this context, the former Workshops and House of Artisans fits morphologically
coherently, but long neglect and incongruous interventions have compromised its architectural and landscape
identity.
The project for the new House of Music was born as a gesture of regeneration: an operation not only of structural
restoration, but also of restoring its meaning and function. The building, in an advanced state of decay—with
portions of collapsed roofing, cracked walls, deteriorated plaster, and features foreign to the original layout—is
being reintegrated into the urban fabric through a respectful and transformative approach.
The building envelope has been completely restored: the roof, rebuilt according to the original design, is now
punctuated by laminated wood trusses and a new technological package that ensures insulation and comfort.
The facades have been restored, enhancing the pattern of the openings and restoring the original proportions,
particularly on the internal front. The fountain on Corso Italia has been retained as a sign of historical continuity.
Particular attention was paid to the blind façades—the two characterless ends—redefined through the
introduction of a new recessed entrance, conceived as a strong and recognizable architectural feature, capable
of directing the gaze from the street and suggesting access to a renewed space.
However, the resources currently available have only allowed the construction of the first functional phase,
relating to the consolidation of the architectural envelope. The interior spaces and the garden, already designed
organically and coherently with the overall layout, will be realized in a later phase.
The interior design project envisions a large, unified space, deliberately left free of rigid partitions: an open,
flexible space designed to host events, group activities, and informal gatherings. Next to the entrance, a reception
and management area will serve as a reference point for visitors and users. The interior layout will be
guided by two walls, high but not reaching the roof, designed to suggest an orderly flow without interrupting
the overall perception of the volume.
The exposed trusses remain the focal point of the space, like a suspended
wooden score, punctuating the height and guiding the gaze along the entire nave.
The connecting space created by the walls leads to the music area: two rehearsal rooms of varying scale, designed
for individual and group activities, will be separated by a central technical core—an instrument storage
area and acoustic barrier—that will ensure acoustic independence between the two functions. A recording
studio will complete the layout, along with, in the side section, changing rooms and restrooms for artists and
the public.
At the back of the building, enclosed within the historic walls, the auditorium will take shape: a large, slender
volume capable of hosting concerts, theatrical performances, and public events. Its dramatic character will
be achieved not only by its capacity, but also by the internal verticality that gives the space a sense of spaciousness
and solemnity.
Outside, the project expands into a landscaped dimension. The garden, which will also be created in the second
lot, is inspired by the Renaissance “teatro di verzura”: a small open-air theater defined by green wings, where
laurel and other plants delimit the stage and protect it from urban noise thanks to a natural sound-absorbing
barrier. A space for listening, resting, and meeting, immersed in greenery and sound.
Thus, the former Workshops and House of Artisans is preparing for a profound transformation: from a productive
architecture to a civic and cultural space, a focal point for Arborea’s community life. A building that, in its new
cycle, will continue to produce — no longer goods, but relationships, knowledge, and beauty
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.