[…] “The question is, ‘Do I have a ‘God Complex’?…which makes me wonder if this lawyer has any idea as to the kind of grades one has to receive in college to be accepted at a top medical school. Or if you have the vaguest clue as to how talented someone has to be to lead a surgical team. I have an M.D. from Harvard, I am board certified in cardio-thoracic medicine and trauma surgery, I have been awarded citations from seven different medical boards in New England, and I am never, ever sick at sea. So I ask you; when someone goes into that chapel and they fall on their knees and they pray to God that their wife doesn’t miscarry or that their daughter doesn’t bleed to death or that their mother doesn’t suffer acute neural trauma from postoperative shock, who do you think they’re praying to? Now, go ahead and read your Bible, Dennis, and you go to your church, and, with any luck, you might win the annual raffle. But if you’re looking for God, he was in operating room number two on November 17, and he doesn’t like to be second-guessed. You ask me if I have a God complex. Let me tell you something: I am God.” […]

Guys, this was a thriller, a real challenge for us. Our story in this project has signed with a tormented relationship with an eximious engineer/detective (someone between Inspector Zenigata and Lieutenant Colombo, lol). This character was the construction manager in charge of the executive project. After one year of nothing, the owners were tired of the poorness of the architectural design delivered (by the Lieutenant and his group). So, they asked us to support them with the design interior of the house. We started to pitch several proposals, but “Zenigata” denied the feasibility of any solution, and we began a war of  “blood and tears” that we definitively lost after two intense months. Fortunately, we had Perry Mason and Doc Grey (the owners) at our side facing the “Lieutenant” and his boys every day. After three months, we finally got an acceptable compromise.

The interior project based its concept on building a close relationship between the house and its surroundings paying attention to the textures and colors of each material chosen, to the detriment of some more technological solutions. We conceived a space that is a synthesis of the memory of a rural house melted with contemporary components(for example double-sided brick fireplace that we turned into a clean technical steel glass fireplace). We studied a chromatic palette that is a central element in the relation between building and site and that, in the interiors, links each space with the meanings that we want to express for those who use it and experience it. We availed the same strategy in the choice of materials. We selected materiality “without time”: iron for inserts and intrados, material plaster for walls, ash wood for the floor, and natural stones for bathroom finishing. This choice allowed us to express a formal austerity while continuously valuing textures and colors linked to nature. The large windows enhance the landscape as a constant presence along the house, and the natural light through those gently invades the whole interior, playing with the surfaces.

For the outdoor courtyard and patio, we studied a layout that achieves a sense of privacy and respite from the neighbors. For those spaces, the goal was to create an atmosphere typical of Mediterranean tradition, where simple small patios turn into secret gardens and fascinating green spaces.

DATE: 2022



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