Villino

VILLINO (eng)
What are the questions that a designer asks when faced with a building that possesses its own identity and history? Over the years we have asked ourselves several times how much and how a historic building should be entirely untouched and whether there are conceivable interpretations and proposals that alter its original state. In our case, addressing a Liberty-style villa on the outskirts of Pisa, the second response appeared to be the most logical and viable.
This decision was influenced by the city's contemporary architectural tradition, notably marked by architect Carmassi, who has undeniably contributed to a period and culture of national architectural significance.
However, we have not followed this disciplinary approach often characterized by the addition of technical elements treated with traditional material and great sensitivity. In our case, we focused on subtracting and establishing a connection with the project center, comprised of a completely reconstructed stairwell, in relation to the potential of the existing external space.
The interior space was adapted to contemporary living needs while adhering rigorously to the typology of the structure and reinterpreting the use of finishing materials.

The building is a typical example of a Liberty-style villa with additions on the rear side (which will be removed in the project), evidently constructed at a later time than the original building.
The square-based layout retained its original shape with slight technological and typological adjustments that we sought to eliminate through a process of philological restoration, reinstating the typological plan layout. Particularly, the sole facade variation was executed on the rear facade, which had a residual composition resulting from functional volumetric
additions over time. A cleanup of the rear facade involved the complete demolition of all the extra elements. Its recomposition followed a historically critical reading, adhering to the compositional criteria of other facades, aiming to avoid a "false historical" appearance and reinterpret the changed spatial requirements and internal-external relationships.
Basic compositional criteria preserved:
_ Axiality of openings on the different levels of the building;
_ Symmetry in the tripartition of the facade;
_ Contemporary reinterpretation of "decorative" elements such as string courses and vertical lines on the corners.
The most significant design intervention took place on this facade, identifying large openings that allow a continuous dialogue for the inhabitant of the interior space with the outside, light, and the surrounding park of particular interest.
On this side, the necessary external intervention for the redevelopment of the basement was also considered. Through the gradual reshaping of the land, a small grassy depression was created to allow greater natural lighting of the basement. Even in the redefinition of internal spaces, the original dislocative criterion was maintained: currently there is a tripartition of the planimetric layout at each level, with slight modifications to improve the functionality of the original system. The refunctionalization of the basement follows this criterion, remaining consistent with the structural system of the entire complex. It was also necessary to provide a new internal access staircase geometrically following the layout of the original staircase that connected the ground floor with the upper levels.
The newly constructed staircase is the focal point of the restoration project: it was entirely made of metal, inspired geometrically by the original staircase, and will interact with the park in which the building is located through an important axial opening, in addition to the lightness of the new staircase. Based on the analysis of existing floorings, a reinterpretation was carried out in line with internal demolition works, integrating and appropriately preserving existing elements.
Internally, it was necessary to identify suitable spaces for the new bathrooms, which had been relegated within the additions. In this perspective, the two entrance halls of the "noble" floors were spatially restored, providing adequate waiting areas for those entering directly from the staircase.

The park
The park front section of the main facade was recovered cleaning and creating a small structured garden reinterpreted through the use of perennial plants. This will be a public and pedestrian space; the driveway access will be located on the adjacent south/east side. On the rear side (north/west), there is a private space, an outdoor living area that was created in continuity with the metal staircase connecting the kitchen and the park. The park's arrangement was executed while preserving the valuable trees, balancing the filled and empty spaces.
Following the renovation of the basement, the external terrain was appropriately shaped to ensure better natural lighting.

Interior Architecture
In defining the interior architecture, the same methodological approach has been followed: the reading and reinterpretation of spaces.
And it is on this subtle balance that we approached the project.
The black metal staircase materially replaces, without altering the building's layout, with the aim of emphasizing the passage of light and interpreting the space not only in a functional but also in an emotional and representative manner. A "contemporary sculpture" which as the first element of perception, as soon as one enters the internal space, gives a representative public dimension to the access and distribution axis of the house. The finishes used at various levels
reinterpret the original intended uses: in the basement, the old stable illuminated by the staircase, functioning as a lantern, was paved with polished concrete and plastered with the same grain as the original plaster.
On the first floor (raised ground floor), one of the two noble floors of the house, the choice of finishes was based on the reuse of existing cement tiles. The pattern of the two areas of the house containing the public function is essentially made up of the same cement tiles, differently reshaped to surpass the compositional dimension of the no longer existing rooms.
The totally black kitchen volume is designed to be a convivial space that directly interacts with the house's rear park; the neutral color also highlights the chromaticity of the historic cement tiles. The second noble floor, on the first floor, is designed to accommodate the sleeping area,
and that is why the choices of floor finishes have fallen on herringbone-patterned oak, aiding the enjoyment of the spaces without shoes.
The master bedroom, in particular, has been designed to create a spatial unity with the bathroom, conceived as a place of well-being, and with the space of the rear park.
The second noble floor, on the first floor, is designed to accommodate the sleeping area, and that is why the choices of floor finishes have fallen on herringbone-patterned oak, aiding the enjoyment of the spaces without shoes.
The master bedroom, in particular, has been designed to create a spatial unity with the bathroom, conceived as a place of well-being, and with the space of the rear park.
The last level of the building returns in the treatment of finishes as a service space.