Allestimento di locale nel centro storico della città di Fano.
© Luca Berluti . Published on June 14, 2015.
© Luca Berluti . Published on June 14, 2015.
© Luca Berluti . Published on June 14, 2015.
© Luca Berluti . Published on June 14, 2015.
© Luca Berluti . Published on June 14, 2015.
Time had taken its toll on the place. We proceeded like archeologists and we removed layer after layer until we found the spirit of the original building, a brick tiled floor and stone and brick walls that must have been more than 150 years old. These old materials serve as a reminder of what the place used to be. We wanted to preserve them as soon as we discovered them. Most of the floor boards and partition walls have been taken away to give the place more light and volume.
Photo by Patricia Giudicelli. Published on June 15, 2015.
We only added a ceiling and two staircases, two partition walls and boxed in furniture to keep costs down and maintain the harmony of the space, nothing more, nothing less. Looking to be faithful to the original structure, we have just used timber in the conversion.
© Patricia Giudicelli. Published on June 15, 2015.
Inspired by traditional architectural styles, using local materials, the project looks like a « camarguaise gardian » lodge with one living space and a double eaved-roof. Chalk white paint harmonises the new with the old. The living space with its unusual shape and exposed simplicity, has a great deal of potential.
© Patricia Giudicelli. Published on June 15, 2015.
Designed according to needs but allowing for changes in use, the whole conversion can be easily dismantled.
© Patricia Giudicelli. Published on June 15, 2015.
© Patricia Giudicelli. Published on June 15, 2015.
© Patricia Giudicelli. Published on June 15, 2015.
© Patricia Giudicelli. Published on June 15, 2015.
© Patricia Giudicelli. Published on June 15, 2015.
© Patricia Giudicelli. Published on June 15, 2015.
© Patricia Giudicelli. Published on June 15, 2015.
Axonometry
© Atelier M3A Architectes. Published on June 15, 2015.
© Atelier M3A Architectes. Published on June 15, 2015.
Video realizzato in occasione della mia partecipazione al Bando dell’Ordine degli Architetti Trapani per Architects meet in Selinunte 2015. Si tratta della riqualificazione della Piazza Ciullo ad Alcamo, opera di Gae Aulenti, mediante arredo urbano. La nuova pavimentazione, come un tappeto urbano, relaziona la piazza ed i suoi edifici con l’intorno. Il libro di Italo Calvino “Le città invisibili”, molto conosciuto dagli architetti, è un riferimento per immaginare una città dove la memoria, i desideri, i segni di un linguaggio e le relazioni presenti in essa, possano produrre nuove e migliori immagini per una qualità della vita più elevata. E l’intervento di Gae Aulenti risulta mirato a migliorare la fruizione della piazza nonchè a darle un’immagine esteticamente più gradevole rispetto a prima.
© Fabio Provenza . Published on June 15, 2015.
Il complesso produttivo è costituito da tre corpi di fabbrica accostati, con area esterna pertinenziale recintata adibita a giardino lungo via Marconi e a parcheggio/carico/scarico lungo il lato Nord; La palazzina uffici, esistente, è stata ristrutturata mantenendo riqualificandola dal punto di vista impiantistico ed energetico. I capannoni, di nuova costruzione, ospitano la produzione (edificio alto mt 8, con doppia campata dotata di illuminazione a shed e carri-ponte), il magazzino ed i servizi igienici degli operai (edificio fronte strada alto mt 6, due piani interni). Palazzina uffici e capannone sono collegati da un volume totalmente vetrato, su due livelli, che ospita al piano terreno ingresso e ufficio tecnico, al piano primo la sala riunioni. La palazzina uffici presenta facciata ventilata con finitura esterna in gres porcellanato color antracite mentre il capannone prefabbricato presenta finitura esterna in graniglia di colore chiaro a fasce orizzontali.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
© Zambianchi e Denari . Published on June 15, 2015.
A reportage by Gianluca D’Elia
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
© Gianluca D'Elia . Published on June 15, 2015.
The client, a recently graduated medical doctor that spends most of his time away from home, seeks the studio with clear but contrasting goals: a flat that works as a calm and predictable escape allowing friends to be brought over to informal parties. The challenge in organizing this space is, therefore, in weaving intimacy and sociability. The flat is initially divided in three bands: the first, a gallery next to the entrance, connects the social and private areas; in the middle, meeting and resting functions are located with living and bedrooms on opposite sides; the third and last band houses the static functions, a sofa, a utilities room and a home office attached to the bedroom. The first contact, through the kitchen, reveals the path to the social area, a large space that brings together living room and cooking area. The flat’s small size demanded the kitchen to be treated as a component of the living room, with no physical barrier between them. Because of this need, the kitchen is designed to be part of the living room, with all the equipments hidden inside a cabinet. From the marble counter that hides the oven, the chat with whom seats on the sofa has as a backdrop a library that transforms itself as the point of view changes. Its base is clad with the same material as the kitchen, a concrete slab usually used in façades and houses all of the electronic equipment. Physically separating bedroom and social area wouldn’t make sense in such a small apartment; however, it is necessary to subtly flag the change in atmosphere. This contrast is achieved through changes in the materials used. While the materials used in the living room are perceived as being more industrial (concrete and stone), the bedrooms palette aims at a common idea of comfort and familiarity with dark wood and heavy fabrics.
Library elevation
© Mario Guidoux . Published on June 15, 2015.
Night light
Photo by Marcelo Donadussi. Published on June 15, 2015.
Bedroom
Photo by Marcelo Donadussi. Published on June 15, 2015.
Bedroom
Photo by Marcelo Donadussi. Published on June 15, 2015.
Towards kitchen/living room
Photo by Marcelo Donadussi. Published on June 15, 2015.
Library
Photo by Marcelo Donadussi. Published on June 15, 2015.
Library
Photo by Marcelo Donadussi. Published on June 15, 2015.
Marble top
Photo by Marcelo Donadussi. Published on June 15, 2015.
Kitchen
Photo by Marcelo Donadussi. Published on June 15, 2015.
Library detail
Photo by Marcelo Donadussi. Published on June 15, 2015.
Library detail
Photo by Marcelo Donadussi. Published on June 15, 2015.
Study
Photo by Marcelo Donadussi. Published on June 15, 2015.
Floorplan
© Mario Guidoux . Published on June 15, 2015.
La forma stretta e lunga della parcella ed il suo orientam- ento, la relazione con il Lago e con il Parco, il Piano Particolareggiato sono i tre elementi principali che deter- minano il volume e la tipologia della pianta dell’edificio plurifamiliare. Il posizionamento dei due volumi identici ma sfasati tra loro formanti l’edificio abitativo plurifamiliare permette una relazione visiva ed un dialogo spaziale con i due elementi di pregio dell’intorno: il lago e il parco del Bosco Isolino. Ogni appartamento gode la vista su questi due elementi del territorio e approfitta di un doppio orientamento. I balconi segnano gli angoli dello stabile. Grazie al frazionamneto del volume la scala dell’edificio si rapporta con l’intorno del quartiere. Il corpo di fabbrica non si appoggia sul terreno ma ne è sollevato per evitare problemi di esondazione del lago e per non “costruire” il piano terreno semi pubblico in diretto contatto e senza souzione di continu- ità con il marciapiede, il Lungolago ed il Porto. La suddivi- sione interna degli spazi risponde a criteri funzionali organizzativi tipici della residenza. In facciata possiamo percepire due ritmi diversi che si sovrappongono e creano un intreccio variabile all’interno del modulo di facciata sempre uguale.
Vista Lungolago
© Nicola Roman Walbeck. Published on June 15, 2015.
Vista Lungolago
© Marcelo Villada Ortiz. Published on June 15, 2015.
Vista Via Franscini
© Marcelo Villada Ortiz. Published on June 15, 2015.
Vista Via Franscini
© Marcelo Villada Ortiz. Published on June 15, 2015.
4. Piano _ 3 1/2 App. Lago
© Marcelo Villada Ortiz. Published on June 15, 2015.
7. Piano _ 3 1/2 App. Parco
© Marcelo Villada Ortiz. Published on June 15, 2015.
Vista lago 6. Piano
© Marcelo Villada Ortiz. Published on June 15, 2015.
-1. Piano garage
© Marcelo Villada Ortiz. Published on June 15, 2015.
Piano terra
© Nicola Roman Walbeck. Published on June 15, 2015.
Piano terra Tromba delle scale
© Marcelo Villada Ortiz. Published on June 15, 2015.
Situazione territoriale
© Buzzi Francesco . Published on June 15, 2015.
Situazione P+0
© Buzzi Francesco . Published on June 15, 2015.
Piano P+0
© Buzzi Francesco . Published on June 15, 2015.
Piano tipo P+1+7
© Buzzi Francesco . Published on June 15, 2015.
Sezione
© Buzzi Francesco . Published on June 15, 2015.
Prospetto
© Buzzi Francesco . Published on June 15, 2015.
Sezione costruttiva
© Buzzi Francesco . Published on June 15, 2015.
Facciata costruttiva
© Buzzi Francesco . Published on June 15, 2015.
La ricerca di una forte qualità ambientale e la definizione chiara ed essenziale degli spazi con il ridisegno del verde, la definizione delle teste dell’intervento, la razionalizzazione della viabilità e la valorizzazione dei fronti urbani sono le strategie progettuali impiegate per consolidare la vocazione che il sistema Piazza Umberto I°– via Madonnina ha come centro pubblico d’incontro, aggregazione e socialità per San Giovanni Lupatoto.
© Edoardo Mora . Published on June 15, 2015.
Vivere immersi nella natura, in piena sintonia con gli elementi del territorio e nel rispetto dell’ambiente nel quale siamo inseriti; sono questi i punti di partenza che hanno portato alla realizzazione di questa casa tra gli alberi. Tutti i principali componenti della struttura sono infatti realizzati con materiali naturali, come il legno per le pareti e con materiali di riuso, come il pallet per i rivestimenti esterni. Le ampie vetrate avvicinano gli ospiti alla natura per farli sentire attori partecipi del luogo. Un modo per vivere un’esperienza di vita ricca di tutte le emozioni e dei piaceri che solo un’ambiente naturale incontaminato riesce a trasmettere. L’attenzione al paesaggio ed alla natura è ancora maggiore grazie al sistema costruttivo completamente a secco che permette di rimuovere in qualsiasi momento il manufatto, senza lasciare traccia della sua esistenza, permettendo così di ripristinare il luogo allo stato in cui si trovava prima dell’intervento. La piccola abitazione coniuga quindi gli aspetti della sostenibilità ambientale con il piacere del vivere a stretto contatto con la natura.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
la casa realizzata per Tecnonart 2015
© Mirko Franzoso . Published on June 15, 2015.
© Mirko Franzoso . Published on June 15, 2015.
Il D.I.I., approvato nel mezzo di una pesante crisi del settore immobiliare e delle costruzioni traccia le principali linee per il governo delle trasformazioni urbanistiche a supporto del suo nuovo piano urbanistico (PGT LR 12/2005). Definisce una chiara discontinuità con i piani degli anni precedenti. Abbandona l’idea di far coincidere l’idea di sviluppo della città con le espansioni e la conseguente occupazione del suolo e ammette quali interventi di trasformazione soltanto quelli coincidenti con le aree produttive dismesse, escludendo la possibilità di espansioni su suolo libero. Non solo, individua tra tutte le aree dismesse quelle posizionate lungo il canale Villoresi, storico canale di irrigazione della bassa Brianza che attraversa il tessuto urbano di Monza su cui si stanno realizzando, per Expo 2015, interventi di miglioramento dell’efficienza idraulica e per la realizzazione di una direttrice per la mobilità lenta a scala urbana e territoriale.
Villoresi, asse portante della riqualificazione urbana
© Alessandro Ali' . Published on June 15, 2015.
Il recupero delle aree industriali dismesse è così definito non come insieme di operazioni distinte, separate ed indifferenti alle parti di città, ma come strategia selettiva che integra in un unico sistema urbano ambiti privati (aree dismesse) e ambiti pubblici (il canale, gli argini, le aree verdi ai lati). Il recupero del sistema urbano del Villoresi diventa un’azione di rigenerazione urbana complessiva segnando una inversione di tendenza rispetto alla prevalente interpretazione del recupero come attività ristretta all’interno dei recinti produttivi. Una serie di dispositivi normativi sostengono l’integrazione tra la singola trasformazione dell’area e le parti circostanti: la stratificazione degli usi, il rafforzamento della rete dei percorsi di mobilità lenta, il recupero del patrimonio degli edifici di archeologia industriale. Gli edifici della città industriale storica diventano un materiale di innovazione della città, ibridizzati da nuove architetture e nuove funzioni, riusati, rispettati nelle loro forme e materiali o più profondamente riadattati. Il D.I.I. identifica gli edifici che per dimensione, qualità architettonica o costruttiva, rivestono un ruolo strategico divenendo i nuovi monumenti della città novecentesca: architetture tardo ottocentesche a shed con pilastri in ghisa, fabbriche multipiano, edifici decor, o più recenti strutture razionaliste, in acciaio o cemento armato che potranno essere recuperate e aperte alla città e a nuovi usi, servizi, lavoro e residenza, ricerca, studio, commercio.
Acqua e fabbriche. Riusare il patrimonio esistente per attivare lo sviluppo economico, sociale e urbano.
© Alessandro Ali' . Published on June 15, 2015.
Il D.I.I. approvato e divenuto strumento di programmazione urbanistica della città di Monza persegue quattro obiettivi di sistema: 1. Il riuso più ampio possibile del capitale fisso, edifici ma non solo, ossia tutto ciò per il quale è già stato consumato suolo, energia, materiale e forza lavoro, nell’ottica di un bilancio più complesso di costi e benefici sulla produzione edilizia e la costruzione di città. 2. La limitazione del consumo di suolo rispetto alle previsioni previgenti ai soli spazi aperti interni ai recinti produttivi dismessi. 3. Un orientamento del mercato, spingendolo a concentrarsi sul riuso attraverso uno strumento urbanistico flessibile e argomentativo. 4. Il sostegno ad un uso il più possibile articolato delle aree, il ritorno di una diversa produzione, più leggera e segmentata, co-working e spazi per start up e makers lab, nuove forme dell’abitare, una quota rilevante di servizi di rilevanza urbana.
Incentivi e azioni per promuovere la trasformazione.
© Alessandro Ali' . Published on June 15, 2015.
Dalla data di approvazione (DCC n.33 del 23-04-2013)del D.I.I. ad oggi, sono state presentate 16 proposte di Piano integrato di intervento, sulle venti aree individuate, definendo il recupero di una superficie territoriale pari a circa 300.000 mq. Di queste, una è stata approvata, tre sono in dirittura di arrivo entro i prossimi mesi, le altre sono in fase di valutazione o sono state rigettate dall’amministrazione in quanto incongruenti con gli obiettivi e i dispositivi del D.I.I..
Home for the birds is a student project of family house, which blends into the surroundings, while visualizing a new form. The building was located in the inactive quarry Krakow, which gave residents a natural, private space in the center of the city which is strongly urbanised. The immediate environment created with natural elements seem to correspond with modern facility. In a wider radius there are housing estates, office spaces or local ponds, which provides daily peace of residents, while allowing them quick and easy access to social life.
© Diana Żurek . Published on June 15, 2015.
The inspiration to create a “home for the birds” was the natural environment of these animals, and above all their houses – trees. The house itself in its form refers to the Japanese culture and related bonsai tree, whose roots dig into the rock hard ground. The house was attached to the slope of the escarpment, becoming its extension. This effect is enhanced by organic roof, which like a falling leaf, light falls on the slope, to blend in with her slit.
© Diana Żurek . Published on June 15, 2015.
Part of the southern and eastern been up glass to create cadres of the landscape and let the light get to interior. The same goal has a skylight, located in the central part of the house, through which, as through the treetops, the rays get into the center.
© Diana Żurek . Published on June 15, 2015.
The house is based on the body similar proportions to the square, by dividing it into modules. Dedicated were three floors, custom location of the garden, which is located at the lowest part of the building, to which can be accessed from the living area, which occupies floor -1. The night zone is located on the ground floor. The interior is divided on the mentioned modules imitating hollows for birds, which are set closed bedrooms and an open common spaces. The heart of the house is centrally placed staircase. Vertically binding on all floors of the building, while separating the functions of the house.
© Diana Żurek . Published on June 15, 2015.
The house is designed to give the maximum feeling of lightness, and even floating above the ground. Irregular divisions in the windows give it immateriality, additional reinforced concrete roof integrates with each residential part with a garage. There used two layers of reinforced concrete, the first design, and the second is a much thinner finishing layer and gently ejected from the face of external walls, so the roof seems to be very thin and delicate.
© Diana Żurek . Published on June 15, 2015.
© Diana Żurek . Published on June 15, 2015.
© Diana Żurek . Published on June 15, 2015.
© Diana Żurek . Published on June 15, 2015.
© Diana Żurek . Published on June 15, 2015.
© Diana Żurek . Published on June 15, 2015.
studio magenta
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
Un hôtel d’entreprises agroalimentaire pour la communauté d’agglomération de La Rochelle.
Arthur Péquin. Published on June 15, 2015.
Quatre modules ateliers de 250 à 350 m² dédiés à la transformation de produits agroalimentaires.
Arthur Péquin. Published on June 15, 2015.
Des espaces industriels à agencer selon les besoins des entreprises (chambres froides, salles de conditionnement, emballage, livraisons…).
Arthur Péquin. Published on June 15, 2015.
Des conditions optimales de travail pour une pépinière d’entreprises : espaces de production flexibles, bureaux indépendants, confidentialité, espace de détente, plenum technique circulable, laboratoires, plate-forme d’essais.
Arthur Péquin. Published on June 15, 2015.
Arthur Péquin. Published on June 15, 2015.
Arthur Péquin. Published on June 15, 2015.
The relationship between ground and water has always characterized by the urban architecture of the cities along the Po River. Historic and Renaissance’s Towns are defined by their structure through the relationship between Artifice (ideal City, historical Literature) and Nature (molecular and spontaneous City). Po River is the City and the natural meeting place of the inhabitants of the lowland where is a post-localization, another city made of spontaneous elements, self-constructions to use in Summer time waiting for water of River overflows the land over the Winter season. Project of the Ground City Water is based on the concept that Architecture of Future’s Cities is a social practice. Architecture is Community and It is for Community.
© Edoardo Mora . Published on June 15, 2015.
Background: The main objects of Antalya Aquarium project are determined with desire of vanishing in silhouette and creating harmony with topography. The client of the project aims the aquarium is one of the recreational places of Antalya cost. So that, They lead Project design phases as building has the quality of longer tunnels and multi functional interior and exterior volumes.
© Bahadır Kul Architects . Published on June 15, 2015.
Main concept: The main idea of aquarium design is turning upside down the relationship of ground and undersea level. Besides, topography helps to create underground volumes. Pulling back of the ground floor, a shaded public area is created to beware from sun and profit from wind. This shaded public area is the point of approach, gather and diffusion of the aquarium project. Also the shell of this area determines the information and fast-food areas, amphitheater and box office with its curves and waves. The most characteristic part of the project is the entrance area. It has the characteristics of wave. Lt built by a construction technique of waving the concrete and also use the wall paper as a finishing material.
© Bahadır Kul Architects . Published on June 15, 2015.
Structure vs. Form: The aquarium structure has the solids and voids in itself. It exhibits different kind of sea species. Besides the structure has the same meaning with this integrated approach of main circulation and water tank designs. The ramp in the public area, reaches the public exhibition site with the entrance of aquarium and snow world. The travel path has the significance of its long form. It starts with aquarium information and sea fish. This long tunnel continues with cave fish, world rivers, jellyfish, Turkey fish, predatory fish, sharks, the main 5 million liters tank and finals with 131 m tunnel. The each stop in this path is designed with its own character.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
© Bahadır Kul Architects . Published on June 15, 2015.
Te-Domus Templium Argentum rappresenta una sovrascrittura storica tra il timpano dei templi greci e la lineareità tecnica del solaio in latero cementizio.
© Piero Speranza . Published on June 15, 2015.
© Piero Speranza . Published on June 15, 2015.
© Piero Speranza . Published on June 15, 2015.
© Piero Speranza . Published on June 15, 2015.
© Piero Speranza . Published on June 15, 2015.
© Piero Speranza . Published on June 15, 2015.
© Piero Speranza . Published on June 15, 2015.
Réhabilitation d’un ancien Hôtel l’Etoile d’Argent dans le centre de Lacanau Océan.
Arthur Péquin. Published on June 15, 2015.
Laisséà l’abandon depuis de nombreuses années cet édifice retrouve une seconde jeunesse: 11 appartements, tous différents, avec vue sur mer.
Arthur Péquin. Published on June 15, 2015.
L’extension vêtue d’un bardage ajouré en mélèze vient se greffer sur l’ancien corps de bâtiment qui est conservé et restauré.
Arthur Péquin. Published on June 15, 2015.
Cette intervention s’est faite en collaboration avec les bâtiments de France la résidence se trouvant à proximité d’une villa classée.
Arthur Péquin. Published on June 15, 2015.
Arthur Péquin. Published on June 15, 2015.
Arthur Péquin. Published on June 15, 2015.
Arthur Péquin. Published on June 15, 2015.
residenziale volta
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
© renzo antonicelli architetto . Published on June 15, 2015.
House in front of the sea
Living room
Photo by Anna Positano. © MALTESEBENEDETTI. Published on June 15, 2015.
KTRIBE Flos on the table
Photo by Anna Positano. © MALTESEBENEDETTI. Published on June 15, 2015.
Kitchen
Photo by Anna Positano. © MALTESEBENEDETTI. Published on June 15, 2015.
Bedroom
Photo by Anna Positano. © MALTESEBENEDETTI. Published on June 15, 2015.
Bedroom
Photo by Anna Positano. © MALTESEBENEDETTI. Published on June 15, 2015.
Surrounded by picturesque hillsides and stunning ridges, the Botanique Hotel & Spa is located in the junction of three river valleys in the heart of the Mantiqueira Mountains. Despite being hidden in the middle of a mid-tropical forest, 1200m above sea level, it is only 12 km from the city of Campos do Jordão in the Bairro dos Mellos neighborhood. As we became more familiar with the surroundings we came across a large number of Norman style houses that seemed rather misplaced in Brazil. Nonetheless it inspired the architectural language used for the project as we weaved together this borrowed European style with a contemporary appeal. The complex consists of a main building containing six rooms, a restaurant and a spa. Detached from this building, eleven villas were designed as a series of connected views, bedrooms, fireplaces and charming bathrooms providing continuity to a sequence of experiences. The main building’s design was focused on harmonizing pitched roofs floating over monumental glass facade, creating playful asymmetries and mixing vernacular materials such as local stone and wood. A truly unique style emerged as large volumes of stone, towering glass facade, chocolate colored slate and old reclaimed wood pillars and beams. The beauty of the rough wood and its structural connections become an architectural feature as they are deliberately exposed. The green of the surrounding forest was the only color allowed to be juxtaposed onto the natural yellowish stone and wood tones that enveloped the building. Due to the lightness and transparency of the monumental glass facade, this natural green backdrop completed the interior design just as beautifully as it composed the exterior views.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
Photo by Tuca Reinés. © Candida Tabet. Published on June 15, 2015.
© Candida Tabet . Published on June 15, 2015.
© Candida Tabet . Published on June 15, 2015.
