Given the low quality of the surrounding urban fabric and its proximity, Villa N has been endowed with a rather introverted character.
A limiting element that, as often happens, has then become the starting point for establishing the main organizational strategy of the project; it is based on a central lung that should have guaranteed a large breath to the living area, despite this initial condition of compression.
This large and three-level space has been closed and only partially covered; it was carefully defined so as to be perceived as a “collector” into which the interior spaces flow without detachment.
In this project Alpini has shown his awareness of the wealth of the Italian countryside not only as heritage to protect but above all as a resource to rediscover and develop. This large multifunction complex is in intense dialogue with the landscape around it, a telescope onto the area between Bibbiena and Chiusi della Verna.
This building, which partially replaces an existing building, feels rationalist in style. Midway between the suburbs and the historic centre, the building has an ‘L’ shape attached to an existing block which closes off a part of the neighbourhood. Its diverse functions find space on the various floors of the building.
This project is in Arezzo historic centre, a short distance away from the Chiesa di S. Agostino on the square of the same name. The vulnerability of the situation is of total importance. The project it is part of aims to create a relationship with a place in which neighbourhood relationships will be indicators of the quality of the new element. Once again, the lessons of the historic town are of the essence.
The history of the city, particularly the city of foundation as Newfoundland Bracciolini teach as these are always involved in processes of transformation and how time has changed shape, changed the contours which in turn were contracted, frayed, cut and forgotten . Today more and more often we are called to work in this jumble of signs and traces, to build in this man-layered dense structure of words, regulations, differences, which in turn characterize the physical social statement.
Sansepolcro, the halfway point between Santiago de Compostela and Jerusalem, and birthplace of Piero della Francesca, is surrounded by the hills on the border between Tuscany and Umbria that the painter transferred into his own pictorial space. Piero often observed the landscape from inside: for him, the background was important, as was the point of view. The extraordinary perspective application of his images imposes the relationship between eye, architecture or monument, and landscape with didactic clarity. The landscape of Sansepolcro is a place recognised as far back as the description given by Pliny: “Beautiful is the aspect of the region: you can imagine it as an immense amphitheatre, such that only nature is able to create.”
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