Casa Sedici Tre by Studio Fabio Fantolino








Casa Sedici Tre is a recent mid-Nineteenth century condominium positioned in Turin, Italy, utterly redesigned in 2022 by Studio Fabio Fantolino.






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Description

An condominium positioned on the principle ground of the Palazzo dei Conti Callori, an aristocratic palace designed by Antonelli within the mid-Nineteenth century, amalgamating later extensions from the early Twentieth century within the portion that was as soon as the previous stables.

The condominium, now totaling 600 sq. meters, was created by the union of a number of parts. One of many nineteenth-century, historic structure, characterised by beneficiant glazed openings, vintage wooden and seeded flooring, and a pictorial and fresco structure in what was as soon as the household chapel and noble rooms. The opposite of the elevation of the early Twentieth-century portion, that includes giant rooms however decrease ceilings.

The one which now homes the dwelling space, with its two speaking lounges, eating room and huge kitchen space, is characterised by a pictorial structure and unique flooring that instantly shaped the principle pillars of the inside design, conditioning it however definitely enriching it.

The principle method was dictated by the necessity to work together with the historic pre-existences of the dwelling space (flooring and frescoes) by way of modern ruptures.

Thus it was that the supplies, traces and volumes of the furnishings have been chosen in order that they might be as uniform as potential, with few chromatic and materials breaks exactly to lighten an already extremely articulated surroundings.

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The entire undertaking performs on the intrinsic traits and messages evoked by the supplies and colours themselves: wooden gave class, fossil oak authenticity, black contemporaneity, slender legs and shapes lightness, bronzed metallic preciousness, at all times in continuity and by no means in antithesis with the pre-existences.

Images by Giorgio Possenti

Go to Studio Fabio Fantolino


– by Matt Watts



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