ENGLISH TEXTS.

Pea­ce and quiet, over the ed­ge

AD (Italy) - - Focus Kitchen - Words AN­NA MAZZOTTI – pho­tos MAT­TIA AQUI­LA Rocks, On the

FI­VE DIF­FE­RENT BUIL­DINGS IN MI­LAN BECOME JUST ONE THANKS TO A RE­NO­VA­TION THAT REDESIGNS VOLUMES AND PURPOSES. WHE­RE LIGHT AND HAR­MO­NY CALL THE SHOTS. Se­re­ne har­mo­ny: this is the first im­pres­sion when vi­si­ting this sump­tuous ho­me. May­be it’s the gar­den in Ja­pa­ne­se sty­le, the ma­je­stic pre­sen­ce of rooms floo­ded wi­th light, the de­li­ca­te but for­ce­ful con­tra­st bet­ween mil­ky whi­te and dark bro­wn to­nes. The pea­ce­ful at­mo­sphe­re is pro­tec­ted by a park around the vil­la, scen­ted by ro­ses, along pa­ths lea­ding to the green set­ting of the near­by coun­try­si­de. This re­fu­ge for a cou­ple in the coun­try near Mi­lan has been ma­de by com­bi­ning fi­ve dif­fe­rent buil­dings, com­ple­te­ly gut­ted and re­de­si­gned. A gi­gan­tic pro­ject that re­qui­red or­ga­ni­za­tion, vi­sion, and in-dep­th kno­w­led­ge of the needs of the clien­ts. The job was do­ne by the in­te­rior designers An­ge­lo Brignolli and Antonio Feraboli of Stu­dio Li­nea, re­ly­ing on the col­la­bo­ra­tion of the ar­chi­tect Pao­lo Guar­ne­ri for the re­struc­tu­ring, the ar­ti­st-pho­to­gra­pher Antonio Mazzetti for the lighting de­si­gn and se­ve­ral de­co­ra­ti­ve works, and Cri­sti­na Ma­ri­ni, for the de­li­ca­te de­tails in the in­stal­la­tion of mar­ble fa­cings and wood pa­nels. The mer­ger of fi­ve dif­fe­rent volumes crea­ted a sort of big emp­ty box, on four le­vels, to de­si­gn from scrat­ch, star­ting wi­th the en­tran­ce wi­th whi­te walls and mar­ble floo­ring, an ideal bac­k­drop for an alu­mi­nium sculp­tu­re by the ar­ti­st Lo­ren­zo Quinn. The De­co-sty­le ba­lu­stra­de was ma­de by Stu­dio Li­nea in lac­que­red oak and gil­ded brass. From the en­tran­ce a cor­ri­dor leads to a lar­ge stu­dio wi­th a glass cei­ling and one wall open to the gar­den. Here Brignolli and Feraboli ha­ve cho­sen a de­sk that can become a ta­ble, a Che­ster­field set­tee in whi­te lea­ther and a lar­ge so­fa co­ve­red in che­nil­le that al­so func­tions as a boo­k­ca­se. The li­ving area on the first floor fea­tu­res grea­ter chro­ma­tic free­dom and ele­gant fur­ni­shings. per­fect exam­ple of the in­du­strial ar­chi­tec­tu­re of the 1940s and 1950s. We kept va­rious in­te­rior ele­men­ts li­ke the ele­va­tor, the stair­ca­se, the hi­gh cei­lings on the ground floor, the ba­se­ment whe­re I ha­ve crea­ted a wellness zo­ne wi­th a small swim­ming pool that tran­sforms an old in­du­strial vat. The mo­st im­por­tant chan­ge was the in­ser­tion of a le­vel for our stu­dio, whi­ch al­so in­vol­ved rein­for­ce­ment of the struc­tu­re». In the hou­se, the lar­ge rib­bon win­do­ws ha­ve been pre­ser­ved as a con­ti­nuous pa­no­ra­mic ope­ning that wraps the en­ti­re dwel­ling. Eli­sa, Gio­van­no­ni’s wi­fe, al­so an in­du­strial (and in­te­rior) de­si­gner, ex­plains: «Behind this trans­pa­ren­cy along the pe­ri­me­ter of the building, we ha­ve crea­ted a se­ries of open and clo­sed “shells” that con­tain the va­rious func­tio­nal zo­nes, our be­droom, tho­se of the chil­dren, Ste­fa­no’s mu­sic room. The ful­crum is the lar­ge li­ving area fea­tu­ring the pre­sen­ce of

the king-si­ze island de­si­gned by Fran­ce­sco Bin­fa­ré». Other in­te­re­sting fac­tors in­clu­de a central mi­cro-gar­den and the ele­gant kitchen de­si­gned by Eli­sa. We should al­so men­tion the up­ward ex­ten­sion of the hou­se in­to what was on­ce the water to­wer, wi­th an out­door loun­ge area and a gue­stroom. And the dra­ma­tic use of color.

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