Udine UD, Italia

The project

The residence is housed in a conservation restoration project that has affected a complex historic building of our city center with strong testimonies of the seventeenth and eighteenth centuries, periods during which the casing has undergone subsequent transformations and interventions, of which most recently not always completely orthodox. It is certainly before the mid-sixteenth century the original nucleus of the complex, while in the eighteenth century the most significant expansions from the monumental point of view end. The recent intervention is a good testimony to how, from the dialogue between private operators and superintendents, it is possible to coincide the safeguarding needs with the constructive and entrepreneurial needs necessary for the sustainability of building operations of this financial commitment. What is not easy, but in this case it has been quite successful; and in this context, the merit of the Maestranze intervened is very high: the restorers and all the intervening operators have been able to converse with the preesistenze, the masonry, the plaster, the frescoes, the stucco, the marbles and the stones, if you still need it, the strong propensity of local operators to respect the legacy that our ancestors, builders and artists have been able to reserve. From a distributive point of
view, it has become necessary in some cases to intervene in the spaces, originally made up of indifferent large salons, for the different needs that contemporary living involves: the low presence of service spaces throughout the residence was obviously insufficient to requests. In order to preserve the continuity of the spaces, lightweight partitions were made in particle height plasterboard, filling the gap with the existing ceiling with fixed glasses, thus favoring continuity with the existing and allowing for a global reading of the spaces in compliance with the strong historical content of the original spatial nucleus. It is precisely this sense of respect which has strongly influenced the setting up of this private residence, with choices in the dialogue with the existing where this was possible and the respectful and recognizable formal detachment of the design responses to the need for contemporary living. The very "push" plant required did not interfere with the generous existing masonry, trying to conceal itself and become as present as possible. The essence of the design of fixed furnishings renounces departure with every attempt to camouflage their lines to make them aligned with the design of the context, yet endeavoring not to oppose itself in a forcibly dissonant manner with the preexisting with whose chromaticisms dialogue on the plane of harmony. White lacquered wardrobes accompany the other few used materials such as national walnut wood and Dalmatian stone painted on various light-finish finishes. It is with great pride that the CasaBella company has received the commitment to give life to a project of the Arch. Pierluigi Vio for a wonderful home. The end result is a proof of the true Italian charm of the recovery of historic residences, a design theme that has long been considered "dangerous" and disenchanted with respect to new achievements, especially in the name of stringent economic logic. Indeed, the high economic incidence of restorationrelated problems can not lead to those who undertake such a considerable cost-aggravating commitment; however, it is equally verifiable that often the results of such interventions can be rewarding. 


Andrea Grattoni
Pierluigi Vio
"It is with great pride that the CasaBella company has received the commitment to give life to a project of the Arch. Pierluigi Vio for a
wonderful home. " 
—  Andrea Grattoni