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Divisare - Projects Latest Updates

older | 1 | .... | 519 | 520 | (Page 521) | 522 | 523 | .... | 567 | newer

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    L’incanto, e quindi la fascinazione, di questo prodotto di design, è intrinseco nella sua rappresentazione di opera d’arte, nata dalla fantasia e dalla manualità di una bambina di 5 anni di nome Sofia. Bruno Munari ha insegnato che il design nasce da piccole intuizioni.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_1 foto_Gianni Zanni

    I bambini nella loro semplicità e purezza facilmente si avvicinano all’arte, giocando con gli stessi strumenti che per un artista sono fondamentali nella creazione di un oggetto o di un’immagine; nelle loro piccole conquiste quotidiane spesso sono maestri inconsapevoli, nell’indicare a noi adulti nuove prospettive artistiche attraverso la loro scoperta del mondo, liberi dall’imposizione. “Se faccio capisco”: i bambini hanno la capacità di creare senza preconcetti; seguendo la curiosità e la meraviglia possono costruirsi dei giocattoli; possono fare, cercare e scoprire, manipolare, scomporre e comporre, sperimentare e avvicinarsi in modo autonomo all’arte visiva.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_2 foto_Gianni Zanni

    Attraverso l’affascinante percorso di apprendimento infantile i bambini possono anche suggerire ad un adulto la forma di un oggetto di design. Così succede che un giorno, guardando il disegno di una bambina, “da cosa nasce cosa”, ecco che da un dipinto nasce un progetto, una forma, una funzione, la luce.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_3 foto_Gianni Zanni

    La sua impronta evocativa ha il fascino di esprimere sentimenti e concetti semplici, natura, luce, vita, legati alla memoria di un’immagine facilmente riconoscibile: un piccolo albero con dei frutti.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_4 foto_Gianni Zanni

    Questo è quello che l’oggetto immediatamente può rappresentare nella sua espressione pittorica, ma racconta anche il fascino di creare una piccola scultura, che genera una luce propria ed illumina lo spazio intorno a sé.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_5 foto_Gianni Zanni

    L’intuizione dell’adulto è stata, quindi, quella di riconoscere l’espressione d’arte nata dalla visione della bambina, e di concentrarsi nello sviluppo progettuale della sua forma tecnica e della sua funzione.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_6 foto_Gianni Zanni

    Nasce cosi “SOFIA” una lampada che seguendo le regole della produzione di un oggetto di design prevede anche lo sviluppo dell’opera in diverse forme e dimensioni per assolvere a diverse esigenze . SOFIAè piccola e sta su un tavolo; SOFIA cresce e diventa una luce a sospensione; SOFIA diventa grande ed è una luce da terra.

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_7 foto_Gianni Zanni

    Grazie Sofia, che sarà sempre la luce per illuminare tutto ciò che c’è di bello intorno a noi, e grazie Bruno Munari per averci insegnato a conservare lo spirito dell’infanzia. testo di Elisabetta Villani foto di Gianni Zanni

    Andrea Villani, Leonardo Maggio — SOFIA_Luce e Forma

    Sofia_mostra presso la chiesa di Santa Teresa dei Maschi_Bari_8 foto_Gianni Zanni


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    The main concept of the Masterplan is to place the Olonkho International Center in the Northern part of the site, facing the Lake Saisar, between Oyunskogo Street and the Tyoploe Canal. The OIC would be the main iconic building of the masterplan with a maximum height of 60m but its mass will be balanced by the presence of the new Park along the embankment of the Canal. The lake embankments are a key elements of the Olonkho International Center complex and become a part of it. Visitors will be provided with an easy access to the waterfront from the park side. The visitor’s route to the water will be both functional and cultural, an attraction point and a key point in the tourist route from the Olonkho International Center to the entire complex.

    Vittorio Grassi Architetto & Partners, Yakutagropromproekt — Olonkholand Masterplan Yakutsk

    For this reason activity spots, including cafés and restaurants, will be placed along the waterfront to ensure access to and usage of it all year round and a pedestrian link to the water will be created below the highway.

    Vittorio Grassi Architetto & Partners, Yakutagropromproekt — Olonkholand Masterplan Yakutsk

    All the other functions will be placed along Avtodorozhnaya Street, were all the city plant network is already placed, following a new set-back street designed as a tense arch. The arch constituted by the building façade is a statement of the new intervention towards the city and a limit for the new Olonkho Park at its shoulder. This new set-back is also a warm pedestrian way from the Southern residential settlement to the new business center and the OIC even if all the new buildings of the masterplan operate independently from each other as well as their functions.

    Vittorio Grassi Architetto & Partners, Yakutagropromproekt — Olonkholand Masterplan Yakutsk

    In this view of the masterplan the park is the superior element both in literal and figurative sense. The park is the connective fabric between all the new functions and buildings. It represents the continuation of the Olonkho tale in outdoor rooms with symbols and elements of the Yakutian tradition. While the cultural itinerary is necessarily designed inside the OIC in winter, in summer the cultural journey takes place in the greenery of the landscape.

    Vittorio Grassi Architetto & Partners, Yakutagropromproekt — Olonkholand Masterplan Yakutsk

    A big attention has been paid to the economical and environmental sustainability of any of them so as to the synergic relationship that makes the whole intervention a unique innovative piece of architectural, urban and artistic vision.


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    CONCORSO DI PROGETTAZIONE PER LA REALIZZAZIONE DI UNA CASA RESIDENZIALE IN LEGNO bandito dalla LEGNO PIÚ CASE SPA

    Marco Scaglione, vannina papaleo — CASA RESIDENZIALE IN LEGNO

    Marco Scaglione, vannina papaleo — CASA RESIDENZIALE IN LEGNO

    Marco Scaglione, vannina papaleo — CASA RESIDENZIALE IN LEGNO

    Marco Scaglione, vannina papaleo — CASA RESIDENZIALE IN LEGNO


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    Our proposal for this public space in Porto consists in a regular 1% slope. The slope starts underneath the Eiffel bridge and ends in rocks, 500 meters further. In terms of declivity it closely resembles a random beach on the Atlantic. We expect it to have a similar quality in terms of occupation, hosting anything from informal commerce to runaway love affairs. The beach, public space par excellence.

    UHO, Martin Le Bourgeois — Swimming pool


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    rersidenza manara

    renzo antonicelli architetto      — RESIDENZA MANARA

    vista d'insieme

    renzo antonicelli architetto      — RESIDENZA MANARA

    pianta

    renzo antonicelli architetto      — RESIDENZA MANARA

    pianta

    renzo antonicelli architetto      — RESIDENZA MANARA

    prospetti

    renzo antonicelli architetto      — RESIDENZA MANARA

    vista d'insieme

    renzo antonicelli architetto      — RESIDENZA MANARA

    vista d'insieme


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    Venice, because of its overwhelming touristic activity, cannot simply be the City of its permanent residents. We have to consider tourists as integral citizens, be it for the time they spend here. Venice is an ever-morphing cosmopolis. Our project addresses this issue.

    UHO, Martin Le Bourgeois — Poveglia and Ottagono islands

    Let us start by describing this set of islands.

    As most of Venice, they are man-made. They are the work of humanity modeling its environment. They are, if a distinction can still be made, the opposite of Nature: they are Culture. Because of this fact, the first fetishization falls. They can never be considered as virgin. They are History, they are the State, the spotlight of public debate has rendered them unclaimable by autonomists. They can no longer be “Pirate Utopias”.1

    Now for the conflict: two parties oppose. Two economical entities fight over the property of this piece of land. At first, one might see them as champions of good and evil. On one side, the evil capitalist millionaire, on the other, the spontaneous uprising of the people in the form of the good association. One can picture these two opposing figures as the fat white male smoking a cigar against the popular mob of heroes.2

    After scraping the surface, we soon discover that our millionaire has plans for the three-island archipelago, and they are not luxury facilities for the mere goal of financial benefit. He wants to build a sort of care center. He is not the Devil after all: he is a philanthropist! 3

    And what of Poveglia per Tutti? Power to the people? Yes, but we first have to define what people is for the association. Apparently, we are talking about the Venetian people, the locals, the “real inhabitants of Venice”, not the tourists, not the Americano. Poveglia per Tutti is very happy with the way the island is serviced now: it is only accessible by private boat, and therefore not “polluted” like the rest of Venice. Their agenda is one of preservation. They are not heroes after all: they are conservatives.

    These two figures are neither good nor evil, they are neither oppressive nor revolted. They are simply weak. A weak capitalist making his measly benefit, fiddling with the no-less weaker local associative forces whose only weapons are crowdfunding and demagogy.

    We make one single change. We put a Vaporetto stop on Poveglia e Ottogono. Our archipelago is therefore truly public.

    Notes

    1. Hakim Bey, TAZ– The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism ISBN 1-57027-151-8 (Autonomedia, 2003)

    2. Associazione Poveglia – Poveglia per tutti. http://www.povegliapertutti.org/. Web. 05 Nov. 2014.

    3. Interview on ilgazzettino.it. http://www.ilgazzettino.it/[…]10.shtml Web. 16. May. 2014.


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    Nouveau Stade

    Herzog & de Meuron — Nouveau Stade

    Herzog & de Meuron — Nouveau Stade

    Herzog & de Meuron — Nouveau Stade

    Herzog & de Meuron — Nouveau Stade


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    Marfa is an atypical location for a housing project. Indeed, it is home to extreme variations in temperature, but most noticeably it hosts one of the most progressive communities in the United States.

    UHO, Martin Le Bourgeois — 16 family housing

    Could a prototypal housing project rely on the particularities of this specific locality to enhance the concept of housing itself?

    UHO, Martin Le Bourgeois — 16 family housing

    In our view, housing should: - allow for minimal disparities in the tenants’ living conditions - act as an integral part of the City.

    UHO, Martin Le Bourgeois — 16 family housing

    In other words: each housing unit should be as equivalent to the others as possible and the housing project should contribute to the public space.

    • Rental housing – Backyard To attain equivalence between housing units, each one of them should possess the same features in terms of distribution, views, orientation, light efficiency, etc.

    One simple solution is the grid scheme - or so-called Manhattan plan - where circulation defines housing units. Every unit is surrounded by four “streets”. However, it is not a very efficient one: distribution takes up a very large portion of the plan and shared space is merely a circulation area.

    Our approach is different. We decide to make one sacrifice: the view towards the landscape. We admit it is not a mundane feature, but by doing so, we are able to pack the housing units tightly and to enhance the overall project.

    Our strategy is to define square (20 m x 20 m) parcels. Together, they form an extendable matrix. Each of them also hosts two “backyards” shedding light on the two interior façades of this encased housing unit.

    Every group of four units is served by a distribution kernel. These contain a staircase, an elevator, a laundry room, a garbage collection unit and common storage. They also host technical networks (plumbing, electricity, etc.) and serve the general structural stability of the building.

    To avoid any kind of disturbance of the plan, any unbalancing of the parcels, access is displaced underneath the living area. We lift up the entire plan, liberating the ground floor for public use.

    • Public space – Frontyard The frontyard is given up as such. Instead its purpose is transferred to pure public space while centralized on the ground level.

    A generous (7.5 m ceiling) space is protected from the wind and is suitable for any activities ranging from cultural gathering to sporting leisure. Our intent is to leave this public space as undefined as possible. It is Marfa’s community which will be responsible for its management. It is lit up to 24/7 thanks to the solar panels placed on the roofs of the housing units.

    The building is circled by parking lots, individual garages seem like a waste of space and resources. From the exterior, one simply sees an ordinary building: an 80 meters by 80 meters block. Up to 8 meters, the façade is cladded with cheap polycarbonate modules. The 4 upper meters are made of blank foamed concrete walls encasing the steel structure.

    • Copying Mies After setting the objectives and producing the first sketches, striking similarity appeared between the general design of our project and Ludwig Mies van der Rohe’s Neue Nationalgalerie. We decided to fully assert the ressemblance. He had solved every structural problem relating to lifting a great mass without saturating the ground floor with pillars, and we would reuse his strategy, simply using more modest materials and finishing.

    Our intent is to focus primarily on social enhancement. The formal proximity to a modernist building is simply a testimony to our retreat from formal individuality.


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    in costruzione

    Marco Scaglione — cantieri_lavori in corso

    Marco Scaglione — cantieri_lavori in corso

    Marco Scaglione — cantieri_lavori in corso

    Marco Scaglione — cantieri_lavori in corso

    Marco Scaglione — cantieri_lavori in corso

    Marco Scaglione — cantieri_lavori in corso


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    residenza fruttuoso

    renzo antonicelli architetto      — RESIDENZA FRUTTUOSO

    renzo antonicelli architetto      — RESIDENZA FRUTTUOSO

    pianta

    renzo antonicelli architetto      — RESIDENZA FRUTTUOSO

    prospetti

    renzo antonicelli architetto      — RESIDENZA FRUTTUOSO

    plastico

    renzo antonicelli architetto      — RESIDENZA FRUTTUOSO

    plastico


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    The Triangle School stages relationships between people, place and education. The interactions between the three elements reveal the complexity of the architecture. Yet, they simultaneously function to make a simple point of intersection. Located in Namyangju, adjacent to Seoul, this high school building explores new possibilities of the educational architecture through the dialectical interpretation of such complexity and simplicity.

     NAMELESS Architecture — DH Triangle School

    The Triangle School implies the different characteristics of its three bordering sides. The playground to the north, the hill to the east, and the existing building to the west are three different surroundings. These factors lead to three different elevations – opened, closed, and compromised – which are arranged within the layout of the triangular building.

     NAMELESS Architecture — DH Triangle School

    The façade of the building with a transparent skin is defined by vertical louvers, an architectural device that maintains an appropriate balance between illumination and privacy. On the contrary, closedness is the way of responding to the existing building to the west which has different programs. It is a middle school building with a wholly separate operational system. Thus, this existing structure needs to be functionally distinct from the Triangle School. For this, based on the closed concrete wall, one single triangle-shaped window minimizes mutual interference, implying the geometry of internal space.

     NAMELESS Architecture — DH Triangle School

    Unlike the complex characteristics of the exterior with three different sides, the interior opens uniformly into the center of the building. On the second and third floors, which have classrooms, is a courtyard looking up at the sky. The transparent internal triangle that divides the courtyard is placed in different angles to the exterior triangle.

     NAMELESS Architecture — DH Triangle School

    This discordance creates vertical gaps between floors that connect them into a single space to provide an open view from any spot. This external space located in the center of the building creates a learning environment with a certain level of illumination and functions as a small courtyard with sunlight and wind. The triangular building will become a medium that enables open conversation as a flexible and playful social space.

     NAMELESS Architecture — DH Triangle School

    Project team: Jungtaek Lim, Hyunkook Paek (Jplus), Gyoungwon Ha, Hyunyeol Choi (Domusu), Hyunjin Oh, Jungho Lee, Wanggeon Kim, Dongjin Park, Jaemin Yoon Client: Dongwha High School Location: Donong-dong, Namyangju-si, Gyeonggi-do, Korea Program: Educational Facility

     NAMELESS Architecture — DH Triangle School

    Site area: 35,008.00㎡ Bldg. area: 999.36㎡ Gross floor area: 2,628.68㎡ Building scope: B1, 3F Height: 11.2m Building to land ratio: 20.62% Floor area ratio: 52.65% Structure: RC Structure Exterior finish: Exposed concrete, Steel louver, Pair glass Interior finish: Exposed concrete, Terrazzo, Plasterboard Mechanical and Electrical engineer: Suyang Construction: Dolim Construction

     NAMELESS Architecture — DH Triangle School

    Design period: May 2011 – October 2013 Construction period: November 2013 – February 2015 Completion: March 2015 Video: Kyung Roh (Rohspace)

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School

     NAMELESS Architecture — DH Triangle School


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  • 06/11/15--08:28: LAVAMPA - Marco Scaglione
  • non lava più… adesso illumina!

    Marco Scaglione — LAVAMPA

    Marco Scaglione — LAVAMPA

    Marco Scaglione — LAVAMPA


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    residenza bergamo

    renzo antonicelli architetto      — RESIDENZA BERGAMO

    pianta

    renzo antonicelli architetto      — RESIDENZA BERGAMO

    prospetti

    renzo antonicelli architetto      — RESIDENZA BERGAMO

    prospetto

    renzo antonicelli architetto      — RESIDENZA BERGAMO


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    My table is the evolution of an everyday object, the transfiguration of an archetype with the legs gracefully evolving into those of a ballerina in relevé. Fabio Novembre

    Fabio Novembre — In Punta di Piedi

    client > Driade

    Fabio Novembre — In Punta di Piedi

    architect > Fabio Novembre

    design team > Alessio Scalabrini, Domenico Zenone Papetti

    material > Solid oak wood

    colors > natural wood / white

    dimension > L.250 P. 80 H. 75

    The legs have been obtained from a single block of cedar. The work was possible through the use of latest machinery numerically controlled (6-axis). The legs were then polished by hand. For the finish was applied insulating paint and later a lacquering with white ral 9010 solvent-based paint.


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    Altai, shop of excellence in the field of nomadic populations carpets, opens in Milan Altai studio, an exhibition space of acceptance and design directly with customers.

    PR5 architects — Altai design studio

    view

    The new production of carpets designed and made by Altai lives in the same space with antique carpets.

    PR5 architects — Altai design studio

    view

    The natural and vivid colors, contrast with the neutral surfaces of the space, while a wall designed as a frame, allows the customer to interact with a multitude of existing samples.

    PR5 architects — Altai design studio

    view

    PR5 architects — Altai design studio

    view

    PR5 architects — Altai design studio

    view

    PR5 architects — Altai design studio

    view


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    The exhibition, sharing design: utopia of culture makers, was co-hosted by China-Italy design and innovation center (Cidic), Markor home furnishings, Milano makers, Hunan university, and Sichuan fine arts institute.

    PR5 architects — Culture Makers: Design Utopia

    view of the Hunan University display

    The exhibition consists of three parts – culture coding: new channel design and social innovation cross-media design exhibition; culture making: international makers’ joint design exhibition; culture driven: design engine innovation and design workshop.

    PR5 architects — Culture Makers: Design Utopia

    view of the exhibition

    The exhibition has invited over 100 “culture makers” from different fields and will use languages such as videos, products, visual, installments and sculpture to display and recreate various regional cultures and life styles, share the experience of makers, their production means, business models, and the cultural creativity and development of these communities.

    PR5 architects — Culture Makers: Design Utopia

    view of the interior

    PR5 architects — Culture Makers: Design Utopia

    view of the hanging fabric

    PR5 architects — Culture Makers: Design Utopia


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    L’idea progettuale della ristrutturazione si basa sulla ricerca di un delicato mix di tradizione e modernità. L’uso dei materiali, come il larice naturale che riveste interamente il piano superiore e parte del piano terra, e la pietra a scaglie sono gli elementi della tradizione, mentre l’utilizzo del raffinato gres porcellanato, che riprende la memoria del cemento idraulico, il camino e la grande vetrata, sono il segno della modernità. La cucina inglobata nello spessore della scala è realizzata interamente su disegno, anch’essa in larice naturale con i pannelli che realizzano un motivo decorativo in alternanza orizzontale e verticale. Stesso motivo viene ripreso sulle porte e sulle ante degli armadi, tutti realizzati su disegno. La casa si affaccia sul panorama circostante e tale vista viene privilegiata sin dall’ingresso: le finestre ad anta unica consentono di avere una vista completamente libera sulla vallata

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna

    Filippo Felli — Casa in montagna


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    The operation pursued the goal to give a new image to the Unisys head quarter office, through the design of some area displaced inside the building.

    PR5 architects — Unisys Bureau

    view of the desk

    The reception, the hall and the meeting rooms, are orchestrated together through a common design and use of materials.

    PR5 architects — Unisys Bureau

    view of the desk

    The corridor, the project heart, puts the entry in communication with working areas, thanks to a game of lines that animate the path.

    PR5 architects — Unisys Bureau

    detail of the desk

    PR5 architects — Unisys Bureau

    view of the corridor

    PR5 architects — Unisys Bureau

    view of the corridor

    PR5 architects — Unisys Bureau

    view of the corridor

    PR5 architects — Unisys Bureau

    view of the corridor

    PR5 architects — Unisys Bureau

    view of the meeting room

    PR5 architects — Unisys Bureau

    view of the meeting room


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    RIFACIMENTO DELLA FACCIATA DI CASA P.

    Giorgio Burza — CASA PRIVATA SIGNOR P.

    TETTOIA SULL'INGRESSO

    Giorgio Burza — CASA PRIVATA SIGNOR P.

    VEDUTA

    Giorgio Burza — CASA PRIVATA SIGNOR P.

    VEDUTA

    Giorgio Burza — CASA PRIVATA SIGNOR P.

    PROSPETTO

    Giorgio Burza — CASA PRIVATA SIGNOR P.

    SEZIONE


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    L’idea progettuale si basa sulla volontà di suddividere la villa attraverso dei “filtri” che corrispondono a diversi gradi di “riservatezza”, passando da una zona “pubblica” ad una zona “semi-privata” per poi concludersi con quella “privata”. La villa è composta da tre corpi edilizi con altrettante funzionalità: i servizi, la zona di rappresentanza, ed infine la zona notte. Tra questi, due patii costituiscono un continuum con la casa. Oltre allo spazio residenziale, il progetto prevede una piscina con un sistema a sfioro che si affaccia sul panorama, una palestra ed un garage sotterraneo. I prospetti dei tre corpi-edilizi sono realizzati con un sistema modulare con ricorsi di pietra locale, in stretto rapporto con la tradizione delle case mediterranee, e le finestre a tutta altezza con un pannello esterno composto da listelli di legno, che consentono il raffreddamento, ed un pannello interno in vetro. I pavimenti sono in resina bianca mentre il legno è utilizzato nella zona notte.

    Filippo Felli — Villa unifamiliare

    Filippo Felli — Villa unifamiliare

    Filippo Felli — Villa unifamiliare

    Filippo Felli — Villa unifamiliare

    Filippo Felli — Villa unifamiliare

    Filippo Felli — Villa unifamiliare

    Filippo Felli — Villa unifamiliare


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