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Flat in Trieste, Italy
Flat in Trieste, Italy
174, Via di Romagna, Trieste, Italy
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Flat in Trieste, Italy
174, Via di Romagna, Trieste, Italy
The residential theme has always lent itself as suitable
more than others, beyond its typological identity, to becoming a manifesto for
its planner, to voicing a more general
idea of architecture in which declarations of intent are often played even only
as an analogical cross-reference, on the
statement of affinity and inclinations.
The place to live and the dwelling, the shape and
its appearance, the domesticity and the representation and, more than anything,
the architect's tendentiousness and the feasibility are the parts and also the
actors of one of the most repeated representations in the architectural
repertory.
On this difficult script this project was created:
it declares a natural inclination for modernist heritage, but also an attitude
marked by a critical personal revisionism in which the synthesis goes through
an action of clear subtraction.
Starting from such premises this project was also
worked out in honour of and thinking of
the strong identity of Italian architecture: it draws its measure from the
landscape; it expresses itself through an instinctive sense of proportion; it
models space in closed and compact shapes; it produces unexpected solutions by
means of an action of juxtaposition and subtraction.
The house is placed on the hillside of Scorcola
facing Trieste's gulf; it develops the theme of the inside/outside relationship
playing on the counterpoint between a front and a rear, between being and appearing, between hiding or
revealing itself.
An apartment and a garden in front of it, open to
the sea, concur together to realizing the house.
A place to relax, facing the sea, where
chromatisms, objects, silence, constitute the notes of the musical composition.
Minimalist, definitely oriented to less is more.
The plan is clear, geometrically rigorous,
explicit in the neo-rationalist rigour.
A big living-room, entered from an access facing a
bedroom and bathroom, leads to the porch, a filter towards the garden. The
kitchen, a further access and a master bedroom with its en-suite bathroom come
one after the other in contiguity.
Robert Longo, Graham Gillmore, Stefano Scheda and
Richard Woods are on the walls.
The white of the interior and the furnishing
exalts the warmth of the flooring which is in industrial teak, thus creating a
great luminance effect.
The bathrooms are paved with white resin flooring and completed with
Flaminia elements.
The furnishing is characterized by a "formosa
adagiata" and a "formosa sdraiata" by Moco, the latter is placed
under the mirrored bookcase "barra-tasto" also by Moco. “Living” sofas
designed by Piero Lissoni constitute a living-room concluded by a red Embryo
Chair by Marc Newson.
An Alivar bench coffee-table separates the
living-room from a Bang&Olufsen BeoVision7 television. Behind the
sofas there is a white Fortuny lamp by Pallucco.
A Less
dining-table by Jean Nouvel is also white and surrounded by Molteni Alfa
chairs.
The master bedroom is emphasized by a
"Cappellini Fronzoni 64" bed and by a few, white furnishings.
All the cupboards, in blue and white are by Poliform.
The kitchen, in steel, is an Ala by Ciatti.
Internal and external lamps are by Viabizzuno,
except for that in the kitchen, which is by Inside.
External furnishing is by Coro, the swimming-pool
by Castiglione.
more than others, beyond its typological identity, to becoming a manifesto for
its planner, to voicing a more general
idea of architecture in which declarations of intent are often played even only
as an analogical cross-reference, on the
statement of affinity and inclinations.
The place to live and the dwelling, the shape and
its appearance, the domesticity and the representation and, more than anything,
the architect's tendentiousness and the feasibility are the parts and also the
actors of one of the most repeated representations in the architectural
repertory.
On this difficult script this project was created:
it declares a natural inclination for modernist heritage, but also an attitude
marked by a critical personal revisionism in which the synthesis goes through
an action of clear subtraction.
Starting from such premises this project was also
worked out in honour of and thinking of
the strong identity of Italian architecture: it draws its measure from the
landscape; it expresses itself through an instinctive sense of proportion; it
models space in closed and compact shapes; it produces unexpected solutions by
means of an action of juxtaposition and subtraction.
The house is placed on the hillside of Scorcola
facing Trieste's gulf; it develops the theme of the inside/outside relationship
playing on the counterpoint between a front and a rear, between being and appearing, between hiding or
revealing itself.
An apartment and a garden in front of it, open to
the sea, concur together to realizing the house.
A place to relax, facing the sea, where
chromatisms, objects, silence, constitute the notes of the musical composition.
Minimalist, definitely oriented to less is more.
The plan is clear, geometrically rigorous,
explicit in the neo-rationalist rigour.
A big living-room, entered from an access facing a
bedroom and bathroom, leads to the porch, a filter towards the garden. The
kitchen, a further access and a master bedroom with its en-suite bathroom come
one after the other in contiguity.
Robert Longo, Graham Gillmore, Stefano Scheda and
Richard Woods are on the walls.
The white of the interior and the furnishing
exalts the warmth of the flooring which is in industrial teak, thus creating a
great luminance effect.
The bathrooms are paved with white resin flooring and completed with
Flaminia elements.
The furnishing is characterized by a "formosa
adagiata" and a "formosa sdraiata" by Moco, the latter is placed
under the mirrored bookcase "barra-tasto" also by Moco. “Living” sofas
designed by Piero Lissoni constitute a living-room concluded by a red Embryo
Chair by Marc Newson.
An Alivar bench coffee-table separates the
living-room from a Bang&Olufsen BeoVision7 television. Behind the
sofas there is a white Fortuny lamp by Pallucco.
A Less
dining-table by Jean Nouvel is also white and surrounded by Molteni Alfa
chairs.
The master bedroom is emphasized by a
"Cappellini Fronzoni 64" bed and by a few, white furnishings.
All the cupboards, in blue and white are by Poliform.
The kitchen, in steel, is an Ala by Ciatti.
Internal and external lamps are by Viabizzuno,
except for that in the kitchen, which is by Inside.
External furnishing is by Coro, the swimming-pool
by Castiglione.
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