The long and compact body, that allows the simultaneous vision of the two side of the
ridge from any environment, symbolizes the border, the threshold to cross, emerging as
the main theme of the projectual research.
A concept that is develop in a different way in the ground floor (day) and the 1st floor
(night). The project borrows, from the traditional rural home in Le Marche region, the
compactness and the longitudinal development of the building with residential space in a
The ground floor is a cut block, covered in varnished iron with anti rust primer.
The first floor, as though suspended, is composed by a more closed and intimate section
and by an hybrid, inner and external space, surround by a performed membrane.
The two levels have different connections with the external space. On the ground floor the
cyclic theory of the vertical cut allows visual and physical permeability.The body of the
building can be crossed in more than one position: the patio entrance, the living and
In the closed block of the first floor, an unusual window, with kaleidoscopic viewfinders
head towards the landscape, giving the possibility to look out at the two counterposed
slopes from the same position.
The relation with the exterior changes by moving close to them, allowing the entrance of
the amplified surrounding panorama.
The emptiness that springs in the dialectical scheme internal-external of the project,
bounded by walls (from the open space of the patio and the outside catwalk, to the more
intimate area of the bedrooms, arriving to the area filtered from curtains on the first floor) is
important to break up what unusually tends to occupy in a stable and immobilizing way.
The created space is concave, receptive, permitting the external space to enter and to the
residents to enjoy it with simplicity. An ideal line of energy ( a cosmic axis) of which the
inhabitant can feed himself. He can pass thorugh, from north to south, from the mountains
to the sea.
Suspension and dizziness are wanted feelings, enhanced by the absence of a
conventional railing in the catwalk that distributes the spaces for the whole length of the
house, replaced by an ethereal henhouse net.
The blocks and the single parts of the building could be easily identified, having the
proportions of an assembly kit, an out of scale construction game composed by white and
red pieces of which it simple to imagine even the assembly process.
The project is minimised, according to a simple thought based on the concept rather than
formal choices. The rhythm of the openings and of the coating of the block on the ground
floor is modular, cyclical, and follows a sinusoidal law; the same is reflected in the
diaphragm- space on the first floor, in the wood partition than sustains the tissue.
The house is located on the outskirts of the urban space, where fields grow; the
permeability of the soil is left to its maximum, with the grass that touches the perimeter of
the house and with the minimum surface of outdoor paving that is a bit detached, isolated
from the house.
There is no fence to demarcate the private property. A swathe of grass surrounds ideally
the house in the field (cultivated rotation with grains, barleys, sunflowers) expanding it.
The attempt is to break the border, without following the protocol for which the private
housing space, is split up from farm work.
Regarding the interior and the furniture (all of design) the purpose was to avoid the
contemporary language made of bright, luxury labels and design of contemporary fashion.
Searching for an authenticity, like an “inherit” space, to pass down itself as witness,
imagining it almost as though temporary (nomade, camping); a light space, flexible, like
pre-existing, that suddenly we can take back, no finery no luxury which belongs to home of
the farmer tradition.
The furniture is in white painted ash wood or in blockboard pinewood panels (only for the
doors). Countertops, tables, sinks and basin are designed in cement and quartz.
The structure of the building is in steel while the portion in tissue is in laminated timber.
The pure and neutral block of the first floor is finished with self-cleaning plaster in all its
The iron blades of the balcony door that are showed in a open position on the ground floor,
contain drains and ventilation. The house has bioclimatic and insolvency asset that permits
a thermal gain in the cold months and a natural air conditioning (there is no air conditioning
device) in the hot ones, thanks to the crossed ventilation and to the effect chimney.
The doors of the balcony can stay open without any obstruction, lean against pilasters,
thick blades that hold up and split the edifice. In this way the inner space become an
outside- covered space and the living area turns into an enclosed gazebo in the house to
be used not only in the summer season.
IN THE LINK BELOW A SHORT ARCHITECTURE FILM
Simone Subissati graduated in Architecture in 1999 at the University of Florence.The training of architect Simone Subissati, architect, is from the Florentine school, where he is a pupil of Remo Buti, Gianni Pettena - belonging to the original nucleus of the Italian Radicals - and Roberto Segoni, an international designer in the 80s and 90s and founder of the first Industrial Design courses in Italy .He lives and works between Milan and Ancona, where he founded the studio Simone Subissati Architects; deals with Architecture, Interior Design and Design. The works of simone subissati architects contain experimentation and theoretical reflection on some fundamental themes of the discipline - from the interpretation of architectural space to the interrelations with contemporary art, to the centrality of making architecture in relation to the materials and craftsmanship of the projected product.