Una vil­let­ta ever­si­va

A Sub­ver­si­ve Ter­ra­ced Hou­se

Abitare - - SOMMARIO - txt Ali­ce Pi­cioc­chi pho­tos Derek Swalwell

txt ali­ce pi­cioc­chi pho­tos derek swalwell

Cu­ci­ta su mi­su­ra dei suoi (ori­gi­na­li) abi­tan­ti, que­sta vil­let­ta a schie­ra del 1850 ri­pen­sa­ta da AU­STIN MAY­NARD AR­CHI­TEC­TS pro­po­ne spa­zi, ve­du­te e abi­tu­di­ni de­ci­sa­men­te fuo­ri dal­la nor­ma. A Mel­bour­ne Ma­de to mea­su­re in Mel­bour­ne for its in­ha­bi­tan­ts, this ter­ra­ced hou­se built around 1850 and re­no­va­ted by Au­stin May­nard Ar­chi­tec­ts crea­tes so­me un­com­mon spa­ces and views

VECCHIE FABBRICHE, CAPANNONI, EDI­FI­CI AN­NI SES­SAN­TA, CASE DI LE­GNO E VILLETTE CON MATTONI A VI­STA.

Sia­mo a Fi­tz­roy, il quar­tie­re “cul­la” del­la sce­na ar­ti­sti­ca al­ter­na­ti­va di Mel­bour­ne. Nel mez­zo di que­sto col­la­ge di sti­li lo stu­dio au­stra­lia­no Au­stin May­nard Ar­chi­tec­ts ha rea­liz­za­to una ca­sa uni­fa­mi­lia­re di ol­tre 400 me­tri qua­dra­ti che rein­ter­pre­ta le ti­pi­che villette a schie­ra vit­to­ria­ne. L’obiet­ti­vo del com­mit­ten­te era re­stau­ra­re la ca­sa su due pia­ni ag­giun­gen­do spa­zi per la con­vi­via­li­tà, in­te­gra­re il giar­di­no sul la­to est del lot­to, e tro­va­re un nuo­vo uso all’ex stal­la sul re­tro. Man­te­nen­do in­tat­ta la fac­cia­ta di mattoni su stra­da, lo stu­dio ha ri­bal­ta­to la di­stri­bu­zio­ne in­ter­na e rior­ga­niz­za­to la ge­rar­chia de­gli spa­zi. Epi­cen­tro e fo­co­la­re do­me­sti­co di­ven­ta un pa­di­glio­ne co­strui­to ex no­vo che con­tie­ne cu­ci­na, sog­gior­no e sa­la da pran­zo, ca­rat­te­riz­za­to da un co­ro­na­men­to im­por­tan­te di la­mie­ra on­du­la­ta e da una zo­na in­fe­rio­re ve­tra­ta, aper­ta sul giar­di­no. Il pa­di-

WE ARE IN THE SUBURB OF FI­TZ­ROY, THE “CRADLE” OF MEL­BOUR­NE’S ALTERNATIVE ART SCENE.

He­re there are for­mer fac­to­ries, ware­hou­ses, buil­dings from the 1960s, woo­den cot­ta­ges and ter­ra­ced hou­ses in un­pla­ste­red brick. In the mid­st of this med­ley of sty­les the Au­stra­lian prac­ti­ce Au­stin May­nard Ar­chi­tec­ts has crea­ted a sin­gle-fa­mi­ly hou­se of over 400 squa­re me­tres that rein­ter­pre­ts the ty­pi­cal ter­ra­ces of the Vic­to­rian era. The clien­ts wan­ted to re­no­va­te a two-sto­rey hou­se and add spa­ces for con­vi­via­li­ty, in­te­gra­ting the gar­den on the ea­st si­de of the lot and fin­ding a new use for the old sta­bles at the back. Lea­ving the brick street front in­tact, the stu­dio has tur­ned the in­ter­nal ar­ran­ge­ment up­si­de do­wn and reor­ga­ni­zed the hie­rar­chy of spa­ces. The cen­tre of gra­vi­ty and do­me­stic hear­th has been shif­ted to a new ex­ten­sion that con­tains the kit­chen and li­ving and di­ning areas, mar­ked by a pro­mi­nent cro­w­ning sec­tion of cor­ru­ga­ted me­tal and a gla­zed lo­wer zo­ne, whi­ch

L A L AMIER A BIANCA GENER A PARE TI E COPER T URE E SI S O L L E VA P E R O MB R E G GI A R E L E GR A NDI V E T R AT E THE SHEET ME­TAL GENERATES UNBROKEN EXPANSES OF WALLS AND ROOFING, RI­SING UP AT SO­ME POIN­TS TO BE­CO­ME CANOPIES THAT SHADE THE LAR­GE WIN­DO­WS

glio­ne è av­vol­to da una “se­con­da pel­le” co­sti­tui­ta da una re­te co­me quel­la dei cam­pi sportivi, che crea un rap­por­to an­co­ra più stret­to tra l’abi­ta­zio­ne e la fit­ta na­tu­ra spon­ta­nea cir­co­stan­te. Il con­cet­to di “so­glia” di­ven­ta co­sì più sfu­ma­to. Per con­ser­va­re e man­te­ne­re gli al­be­ri esi­sten­ti lo stu­dio au­stra­lia­no ha idea­to per que­sto edi­fi­cio una strut­tu­ra por­tan­te a V che ar­re­ca il mi­nor dan­no pos­si­bi­le al­le ra­di­ci. Se­con­do no­do di que­sta ca­sa dif­fu­sa è la vec­chia stal­la, che ora al­log­gia le au­to, ma an­che la ca­me­ra da let­to dei ge­ni­to­ri e lo stu­dio. In que­sto ca­so è sta­to “in­ne­sta­to” sull’edi­fi­cio ori­gi­na­le di mattoni rossi un nuo­vo vo­lu­me mor­bi­do e on­du­la­to di la­mie­ra bianca, una sor­ta di “ca­sca­ta me­tal­li­ca” in to­ta­le con­tra­sto. Le cur­ve di que­sta mem­bra­na ge­ne­ra­no pa­re­ti e co­per­tu­re sen­za so­lu­zio­ne di con­ti­nui­tà, sol­le­van­do­si in al­cu­ni pun­ti per di­ven­ta­re pen­si­li­ne che om­breg­gia­no le gran­di ve­tra­te espo­ste al so­le di mez­zo­gior­no al pia­no su­pe­rio­re. Il se­con­do li­vel­lo ospi­ta la ca­me­ra da let­to e il ba­gno, e una por­zio­ne di so-

opens on­to the gar­den. The ex­ten­sion is en­clo­sed in a “se­cond skin” con­si­sting of net­ting of the kind used for sports grounds, whi­ch crea­tes an even clo­ser re­la­tion­ship bet­ween the hou­se and the lu­sh spon­ta­neous ve­ge­ta­tion that sur­rounds it. In this way the con­cept of “th­re­shold” has be­co­me mo­re blur­red. To pre­ser­ve and main­tain exi­sting trees the Au­stra­lian stu­dio de­vi­sed a V-sha­ped sup­por­ting struc­tu­re for this buil­ding that would cau­se the lea­st pos­si­ble da­ma­ge to their roo­ts. The se­cond no­de of this spra­w­ling hou­se is the old sta­bles, whi­ch now hou­se the car, as well as the ma­ster be­droom and the stu­dy. In this case a new soft and un­du­la­ting vo­lu­me of whi­te sheet me­tal has been “graf­ted” on­to the ori­gi­nal red-brick buil­ding, for­ming a sort of stron­gly con­tra­sting “me­tal ca­sca­de”. The cur­ves of this mem­bra­ne ge­ne­ra­te unbroken expanses of walls and roofing, ri­sing up at so­me poin­ts to be­co­me canopies that shade the lar­ge win­do­ws ex­po­sed to the mid­day sun on the up­per floor. The se­cond le­vel hou­ses the be­droom and ba­th­room,

la­io è sta­ta so­sti­tui­ta da una re­te da uti­liz­za­re co­me fos­se un pa­vi­men­to-ama­ca su cui ri­las­sar­si, so­spe­si sul­lo stu­dio sot­to­stan­te. L’abi­ta­zio­ne è an­che co­stel­la­ta di ri­fu­gi, nic­chie, pa­re­ti at­trez­za­te, al­co­ve, na­scon­di­gli. Ogni par­ti­co­la­re è stu­dia­to me­ti­co­lo­sa­men­te e “cu­ci­to” su mi­su­ra dei quat­tro abi­tan­ti e al­le lo­ro abi­tu­di­ni. I tre cor­pi di fab­bri­ca – il nuo­vo pa­di­glio­ne, la vec­chia vil­let­ta, la stal­la – so­no col­le­ga­ti da un cor­ri­do­io ve­tra­to, an­ch’es­so cur­vi­li­neo e un po­co so­pre­le­va­to ri­spet­to alla quo­ta del pia­no ter­re­no. Men­tre si sno­da tra il pa­di­glio­ne e la vil­let­ta, que­sta pas­se­rel­la si tra­sfor­ma in pan­ca di un mi­cro stu­dio pop-up, pa­re­te di un giar­di­no interno e so­ste­gno per ar­ma­dia­tu­ra e li­bre­ria. ○ and a por­tion of the floor has been re­pla­ced by a net that can be used as a ham­mock-plat­form for re­la­xa­tion, su­spen­ded abo­ve the stu­dy on the floor be­low. The hou­se is al­so dot­ted wi­th re­fu­ges, ni­ches, fit­ted walls, al­co­ves and hi­ding pla­ces. Eve­ry de­tail has been me­ti­cu­lou­sly re­sear­ched and “ma­de to mea­su­re” for the four oc­cu­pan­ts and their li­fe­sty­les. The th­ree blocks – the new ex­ten­sion, the old ter­ra­ced hou­se, the sta­bles – are con­nec­ted by a glass cor­ri­dor, whi­ch is cur­ved and rai­sed slightly abo­ve the le­vel of the ground floor. As it winds its way bet­ween the ex­ten­sion and the main hou­se, this pas­sa­geway turns in­to the ben­ch of a mi­cro pop-up stu­dy, the wall of an in­ter­nal gar­den and a sup­port for cu­p­boards and boo­k­ca­ses.

La ca­sa espri­me un mo­do di abi­ta­re “sen­za con­fi­ni” gra­zie al­le pa­re­ti ve­tra­te e alla con­ti­nui­tà con il pic­co­lo giar­di­no. La re­te, la la­mie­ra e le ve­tra­te rap­pre­sen­ta­no di­ver­se quin­te e ren­do­no il con­cet­to di so­glia più sfu­ma­to.The hou­se re­flec­ts a way of li­ving “wi­thout boun­da­ries” thanks to the glass walls and the sen­se of con­ti­nui­ty wi­th the small gar­den. The net­ting, sheet me­tal and glass walls pro­vi­de dif­fe­rent bac­k­drops and ma­ke the con­cept of th­re­shold mo­re blur­red.

Sot­to, lo stu­dio al pia­no ter­re­no del­la dé­pen­dan­ce. A de­stra, il ri­ve­sti­men­to dell’edi­fi­cio de­sti­na­to agli ospi­ti, rea­liz­za­to con la­mie­ra on­du­la­ta e un con­tro­cam­po dall’interno del­la fi­ne­stra ac­can­to al ba­gno.Be­low, the stu­dy on the an­ne­xe ground floor. Right, the cor­ru­ga­ted me­tal clad­ding of the buil­ding used for guests and a re­ver­se-an­gle shot from in­si­de the win­dow next to the ba­th­room.

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