REFURBISHMENT & RESTORATION: historical buildings in the centre of Rome

In a city such as Rome a vast proportion of refurbishments take place within historical buildings. Obiously protected by conservation laws, these buildings are also safeguarded by the inborne love of historical detail present in most Italian architects. Interestingly, in Italian the words "refurbishment" and "restoration" have virtually idential meanings and there is a single translation for both terms: "restauro". The framework of each project is set by the historical value of the structure. This however in no way limits the immagination and capacity for experimentation of some young architects. While searching for a valid example of a small scale project to demostrate the work of young Roman architects I noticed this 60 sq m space developed into a studio by a young Roman architect, Carola Vannini. Here an old store space under the arches in Piazza Vittorio (in the area of Rome known as the Esquilino) has been restored with great understanding of past, present and world trends.

NO GLOBAL DESIGN: the italian connection

Prof. Morlacchi's work could not be more Roman and less globalised. After decades teaching architecture and conservation techiniques at the universities of Rome, Chieti and Pescara, Prof. Morlacchi has printed some of her painstakingly accurate surveys of the historical centre of Rome (available in various formats from approx. 50cm to 150cm wide). The problem? If you want one of these prints you'll have to write in for the address, find your way through Villa Borghese, up and down a hill and through a small gate. There you'll find her at work under overloaded shelves of drawings, sketches and prints. But you never know.... you might be able to mail her the cash (credit cards and cheques strictly out of the question).

ID & ARCHITECTURE MAGAZINES: the Italian connection

While in Italy I thought I'd read every interior design magazine I could get my hands on. In the UK mags are basically available in two flavours: standard (indipendent publications) and free (i.e. distributed as integral part of a daily newspaper on a particular day of the week/month). In Italy there is a third variety, the semi-free mag. My favourite is distributed with "La Repubblica", which costs slightly more on the last Saturday of the month. Presumeably this allows the publication not to be entirely reliant on advertising and advertorials. Other daily newspapers publish interior design inserts and for some reason these appear to me more informative and up to speed than some of the standard Italian i.d. publications. Have a look at Repubblica's Casa&Design and ATCasa by Rizzoli Corriere della Sera. On a slightly more radical level, and involving a bigger commitment both in terms of time and money, you might prefer to acquaint yourself with Domus, The architecture and interior design magazine founded by Gio' Point in 1928 (or their website, also available in English). Taschen recently published a 12 volume collection covering the Domus years between 1928 and 1999.

COLOURS AND SHAPES: confident interior design

As new interior design trends emerge our level of confidence wains and, periodically, we tend to follow new, strict, unwritten rules. As we absorb and come to better understand new influences, we appear to gain the necessary confidence to break some of those rules. Over the last few years British interior design has become familiar with oriental influences, retro design, simplified structural detailing, subtler use of colour and overall cleaner lines. This new "language" of design has now become so familiar that many designers are attempting slightly richer combinations.

While leafing through an old copy of Architectural Digest (Italy, Jan 2008) I came across a photograph which illustrates this approach. Interestingly however, the project belongs to a design firm based in Brescia (Angelo Brignolli and Antonio Feraboli of Studio Linea) whose background, judging by their online portfolio, is very different to that of their UK counterparts. Most of their projects appear routed in the history of Italian architecture and furniture design and executed in conpemporary style. In the bedroom shown above the predominance of clean lines and good proportions allow the designers to play with colour and softened shapes. Ethnic influences are interpreted, not slavishly obeyed. The resulting elegance in no way forfeits comfort or warmth: an interesting example of contemporary UK design from Italian designers! There are obviously many routes one can follow to competent design...

BATHROOM DESIGN: practicalities vs aesthetics

Bathroom design has changed dramatically in the UK over the last 20 years. Whereas the clean minimal look may not survive indefinitely, I doubt we will return to unhygienic fitted carpets or the “country” look any time soon. Most good decisions in interior design represent a compromise between being sensible and being fashion conscious. With bathroom design the sensible part of the equation lies with the choice of non-absorbent materials and uncluttered spaces, all of which area easier to keep clean. The fashion conscious portion of the equation relates primarily to shapes and sizes. There is in fact no other reasonable explanation as to why I can’t remember the last time I selected a 10x10cm ceramic tile, nor can I remember the last client who insisted on raised and fielded panels for their vanity unit doors. The sensible part of the equation, in this day and age, should involve us looking at waterproof membranes for shower enclosures (something which is far from standard in the UK). The fashion part involves our keeping track of the more subtle changes: basins for instance have gone from the square pedestal (with lethal pillar taps dispensing either scorching hot or freezing cold water) through the “free standing bowl phase” and onto the square look with “attitude”.
There are a number of buzz words in interior design. They change with time and depending on which part of the home you are addressing. One of those words is “wet room”. Everybody wants the wet room look and by that they mean the absence of a shower tray and a step onto the showering platform. Without getting too technical, it is clear to anybody who stops to think about it that a wet room is only possible if the shower’s waste pipe can be angled to guarantee efficient drainage. This, in many houses and flats, is simply not possible. Shower manufacturers have taken note of the demand and started producing a number of trays which try to guarantee both looks and efficiency. Not as easy as it sounds: shallower trays allow less overflow tolerance and less access for maintenance and inspections. As ever, a good compromise between practicalities and aesthetics is not easy to reach. Peter the contractor’s advice is: start by working out where your pipes need to be and how you will conceal them and then choose your sanitary ware and taps.
Practicalities however are not as much fun as design. So: have a look at the Duravit website for the latest on sanitary ware, Crosswater for taps, Hansgrohe for showers and CP Hart if you want to have a stroll through a virtual retail showroom.