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A. Del Bo et al.
in which the direct relationship with the city is denied in favour of the definition of
a “different private world”.
The Roman domus is, in fact, an introverted house in which the relationship with
the urban space is realized only by the necessary entrance door.
The roman house is composed around the open space of the courtyard, an element
of representation of the type and a necessary part from the functional point of view.
The courtyard, in fact, is the place where the various rooms of the house overlook
and from which they take light and air.
As in the Mies project, originally conceived as isolated and then composed to
build blocks in the city, the idea of the domus is summed up in the construction of a
separation wall between inside and outside. What is important is the representation of
an idea of dwelling consisting in showing the “privacy” of the family life as opposed,
and alternative, to the public life.
The project of the low houses aims to reinterpret similar historical examples
according to new needs and requirements in term of quantity and urban dwelling
quality.
In the specific case of the realization of a new urban part, the proposed ensemble
of patio houses is defined through a brick wall considered as the element which
makes the composition recognizable and measurable.
As proposed by Mies van der Rohe for the three-court houses, the wall surrounds
one or more patios faced by individual households. The upper floor façades of the
two-storey dwelling entertain long-distance relationship with the park in which the
houses are placed. According to this point of view, the wall is that fixed element
able to legitimize any formal and typological variation in the construction of the
individual houses.
From the typological and morphological point of view, the design envisages
the construction of high-density blocks consisting of two-storey row patio houses.
According to the orientation and to the relationship with the block, the design suggests two-house types. The wooden structure and the 2.50 height is constant and
needed in order to contain building costs and energy wastes, as shown by international legislations.
The first house type is a T-shaped faced south-east. The single-storey T-short side
contains a living room overlooking two symmetrical courtyards. The second side,
on two floors, consists of three modules of which the central one, with no windows,
contains the staircase leading to the sleeping area on the upper floor and to the terrace
placed on the roof of the living room below.
The houses are put together to form rows arranged according to the longitudinal
direction of the block and facing the storey houses. This ensures both flexibilities in
the setting of the house that can be enlarged lengthwise by adding constant modules,
as well as a good exposure (south-east) and the cross-ventilation of the building.
A projecting element at the upper level acts as a sunscreen for the lower floor
which is almost entirely windowed because of its relationship with the garden and its
collective character. Upstairs, the windows are smaller and the projection becomes
a small loggia.
A. Del Bo et al.
in which the direct relationship with the city is denied in favour of the definition of
a “different private world”.
The Roman domus is, in fact, an introverted house in which the relationship with
the urban space is realized only by the necessary entrance door.
The roman house is composed around the open space of the courtyard, an element
of representation of the type and a necessary part from the functional point of view.
The courtyard, in fact, is the place where the various rooms of the house overlook
and from which they take light and air.
As in the Mies project, originally conceived as isolated and then composed to
build blocks in the city, the idea of the domus is summed up in the construction of a
separation wall between inside and outside. What is important is the representation of
an idea of dwelling consisting in showing the “privacy” of the family life as opposed,
and alternative, to the public life.
The project of the low houses aims to reinterpret similar historical examples
according to new needs and requirements in term of quantity and urban dwelling
quality.
In the specific case of the realization of a new urban part, the proposed ensemble
of patio houses is defined through a brick wall considered as the element which
makes the composition recognizable and measurable.
As proposed by Mies van der Rohe for the three-court houses, the wall surrounds
one or more patios faced by individual households. The upper floor façades of the
two-storey dwelling entertain long-distance relationship with the park in which the
houses are placed. According to this point of view, the wall is that fixed element
able to legitimize any formal and typological variation in the construction of the
individual houses.
From the typological and morphological point of view, the design envisages
the construction of high-density blocks consisting of two-storey row patio houses.
According to the orientation and to the relationship with the block, the design suggests two-house types. The wooden structure and the 2.50 height is constant and
needed in order to contain building costs and energy wastes, as shown by international legislations.
The first house type is a T-shaped faced south-east. The single-storey T-short side
contains a living room overlooking two symmetrical courtyards. The second side,
on two floors, consists of three modules of which the central one, with no windows,
contains the staircase leading to the sleeping area on the upper floor and to the terrace
placed on the roof of the living room below.
The houses are put together to form rows arranged according to the longitudinal
direction of the block and facing the storey houses. This ensures both flexibilities in
the setting of the house that can be enlarged lengthwise by adding constant modules,
as well as a good exposure (south-east) and the cross-ventilation of the building.
A projecting element at the upper level acts as a sunscreen for the lower floor
which is almost entirely windowed because of its relationship with the garden and its
collective character. Upstairs, the windows are smaller and the projection becomes
a small loggia.