na3 - studio di architettura
Nicola Auciello
Nicola Auciello (Avellino, 1970) took his degree at Rome’s La Sapienza University. In 2003 he founded na3-studio di architettura, actually in Rome where he currently works. Nicola's work ranges from public and residential architecture, interior to industrial design and exhibit design and graphics. He has participated in numerous international architecture competitions, including a competition held for redevelopment of the Formia marina and Fregene beach and Monteriggioni's offices and in 2002 Promosedia International Competition. He has worked on numerous interior architecture projects (published in newspapers, architecture magazines and books) in Rome, Cerveteri, Ladispoli, Capalbio, Avellino, London and Sète. In 2001 he planned the renovation and new installations for the "Museo della Civiltà Romana" in Rome, commissioned by Fiat Engineering (today Maire Engineering) working with Marta Laudani, Marco Romanelli and Massimo Noceto. In 2009 two projects of public works was selected for Twelfth Triennial Architecture Interarch in Sofia (Bulgaria). Na3 work, in 2009, was selected for exhibition on Finnish Pavilion in Sevilla (Spain), together others few Romans architects. He is currently working on a project for redevelopment and recovery of a pedestrian path with a belvedere in Savignano Irpino (Avellino, Italy) and for a residential project for a loft in Capalbio, located in a historic place and for ecclesial project for Caritas office building in Ladispoli (Rome), and offices for Unicredit Banca of Capitalia's Group. In the field of design, he has worked on projects for MttFactory, Laboratorio La.Ca., Pallucco Italia, Staf, Punto Pelle; numerous architectures exhibitions in Italy and Europe: Contemporanea_Rome, Salone del Mobile_Milan, MiArt_Milan, Casa dell'Architettura_Rome, Buildup_Milan, Vittoriano Museum Complex_Rome, Triennial Architecture 2009_Sofia, Finnish Pavilion_Sevilla. He combines his work in design with historical and critical research, and has published essays on architecture and design.
CASA AL GIANICOLO [2009]
Una casa su 7 livelli di quota.
Una sintesi dell'intervento è stata quella di riassumerlo (prima in fase progettuale poi esecutiva) tramite alcune poetiche esternazioni di Giò Ponti*, diventate indispensabili elementi di lettura di questa residenza romana: 1. “IL PAVIMENTO E’ UN TEOREMA” * - il disegno del pavimento, a doghe differenziate, scansiona i pieni e i vuoti dei volumi costruiti diventando il tema conduttore del progetto. ("...percorrerlo sia un’avventura ...non soltanto pedestre” *). 2. “LA FINESTRA E’ UNA TRASPARENZA (E’ LA VISTA, E’ LA VITA)” * - priorità assoluta alla luce e agli affacci a tutta altezza (sia interni – vedi stanza giochi bambino - che esterni). 3. “LA STANZA E’ UN MONDO” * - raccontare il mondo di una stanza tramite l’architettura degli interni; la cucina e il soppalco-teatro di gioco dei bambini, due mondi a confronto, specchiati, visti e riflessi l’uno nell’altro. Il mondo interno dei giochi di un bambino, visto da una parte, il mondo dei “grandi”, dall’altra. (“Gli spettacoli spaziali dell’architettura” *) 4. “LA VOLTA E’ UN VOLO” * - una volta in cristallo trasparente per eliminare ogni confine visivo e guardare oltre per poi vedere ombre riflesse sul soffitto della stanza patronale (“…il soffitto è il coperchio della stanza: è il suo cielo” *). 5. “LA SCALA E’ UNA VORAGINE” * - la scala che collega il 4° livello al 7° livello incassata tra tue pareti, distaccata dalle stesse (“…la scala più bella è quella con ogni andata fra muro e muro. Chiusa. Vedi una rampa alla volta e non sai dove finisce. Potrebbe non finire mai. Può essere di gradini scuri e pareti chiare” *). Lo studio in sezione, ancor prima di quello in planimetria, è stato fondamentale per distribuire gli spazi sui diversi livelli di quota imposti, oltre a rispondere alle diverse richieste funzionali della committenza.L’appartamento, infatti, si caratterizza per la disposizione su sette livelli di quota: sei le quote imposte dalla preesistenza, la settima (il grande soppalco), invece, creata, in fase progettuale. Circa un terzo del grande appartamento (250 mq circa) è stato destinato alla zona giorno, living e cucina, con affaccio e accesso diretto al giardino privato; il soppalco (in legno e ferro), realizzato su disegno, attraversa in maniera longitudinale i due ambienti; la ringhiera del soppalco è il prolungamento in sezione dei pieni e vuoti della zona living, mentre il disegno della pavimentazione, a grandi doghe differenziate ai fini della scansione dei volumi, li proietta a terra (pianta), rafforzando il senso di sconfinamento tra un livello e l’altro. Il soppalco con funzione di zona relax-lettura nella prima parte, si trasforma poi in “spazio gioco bambino” (con accesso dalla camera) nell’ambiente cucina, schermato dalla grande parete di cristallo temperato trasparente. La cucina e lo “spazio gioco bambino” in questo modo interagiscono, si guardano e si lasciano guardare. Entrambi spazi conviviali e “teatro di giochi”: i fornelli e l’arte del cucinare da una parte, dall’altra la leggerezza, l’allegria e l’inventiva del bambino. La sera, come in un teatro, il sipario (un telo utilizzato per oscurare il vetro) si chiuderà. Ricorrono nuovamente nel soffitto del bagno della camera padronale le lastre in cristallo temperato trasparente, questa volta con andamento orizzontale,: infatti risultano funzionali allo spazio, lasciandosi attraversare dall’illuminazione naturale oltre a fungere da piano-diaframma, quasi immateriale ed invisibile, sul quale ci si può “reinventare” di volta in volta, creando un gioco di ombre proiettate sul soffitto della camera quasi a creare un cielo stellato. House with seven levels. I believe that the embryonic stage of a project is something very intimate that a designer can often find it difficult to share, more so than during the "operational" stage. The sharing and comparison stage which are necessary and fundamental aspects come later on. After the first survey and the perception of this large area, I reflected on how it could be modified, taking into account the nature of the property and the demands of the client. My almost immediate reaction was to summarize the entire intervention (both project and executive phases) using some poetic statements by Giò Ponti, which became essential elements of reading for this Roman residence: 1. "FLOORING IS A THEOREM" * - the design of the flooring, with differentiated staves, scans the empty and full building volumes and becomes the main theme of the project. ( "... walking on it is an adventure ... and not just of a pedestrian kind" *). 2. "THE WINDOW IS A TRANSPARENCY (IT IS VISION, IT IS LIFE)" * - top priority to light and the full height views (both internal – see the children’s playroom - and external). 3. "THE ROOM IS A WORLD" * - relating the world of a room through the architecture of the interiors; the kitchen and the loft area dedicated to the children’s playroom, two worlds compared, mirrored, viewed and reflected one within the other. The internal world of the children’s toys, seen on one side, world of "adults" on the other. ("The special entertainment of architecture*) 4. "THE VAULTED ROOF IS A GETAWAY" * - A transparent glass ceiling to eliminate all visual restrictions, and look beyond, to see shadows reflected on the ceiling of the master bedroom ( "... the ceiling is the cover of the room; it is its sky" *). 5. "THE STAIRWAY IS AN ABYSS” * - the stairway connecting the 4th and 7th level is in the middle of two walls, but detached from the same ("... the most beautiful stairway is the one which meanders between two walls. Enclosed. You can only see one flight at a time and you do not know where it will end. It may never finish. There can be dark steps and light walls"*). The section study, performed before the floor-plan, was a vital phase to distribute the spaces on the different height levels imposed, in addition to the different functional requirements of the Client. The apartment, in fact, is characterized by the layout on seven different levels: six levels imposed by the existing building, whilst the seventh (the large loft) was created in the design phase. Approximately one third of the large apartment (approx 250 square meters) was allocated to the day area, living room and kitchen, with direct access and overlooking the private garden; the custom-built loft (in wood and iron), crosses the two environments length-ways, and the railing of the loft is the extension of the full and empty sections of the living area. The design of the flooring, which has huge differentiated slats to scan the volumes, projects them to the ground, reinforcing the sense of overspill between one level and another. The loft area is designed with a relaxation-reading area in the first section, it then turns into a "children’s play area" (accessed from the bedroom) a kitchen, shielded by the large transparent tempered glass wall. The kitchen and the "children’s play area" hence interact with each other, looking and being looked at. Both convivial and "game theatre" areas: the hob and the art of cooking on the one hand, the joy and inventive skills of a child on the other. In the evening, just like the theatre, the curtain falls (a curtain used to obscure the glass). The transparent tempered glass is used once again on the master bedroom en-suite bathroom ceiling, this time arranged horizontally; they make the space more functional, providing natural lighting and also serving as a flat-diaphragm, almost invisible and intangible, which can be used to "reinvent" the area from time to time, creating a play of shadows projected onto the ceiling of the bedroom which looks like a starry sky.