Patient work, done with care, image after image, project after project, to offer you the ideal tool with which to organize your knowledge of contemporary architecture. Join us in taking a stand against the short attention architecture media.ĭivisare is the result of an effort of selection and classification of contemporary architecture conducted for over twenty years. Finally, from a house in Furnas came the pink for the walls and the green of the shutters with which a painter's house presents itself to the city. The green marble came from Viana do Alentejo, the enameled salamander from Italy. The old resinous pine was treated against termites and grafted with new pine and cryptomeria boards. New bathrooms, wardrobes and the kitchen were built.ĭoor knobs, latches and hinges were restored, and the oval eyepiece moved into a new place. This way we were able to leave the northside part of the house for sleeping and the southside for daytime living. We managed to install double-glaze glass without having to replace the wooden frames of the north wall that faces the noisy cobbled street. Here is where the exquisite design and manufacture of the doors and baseboards, the old fittings and hydraulic tiles, the stucco on the ceilings are concentrated. The attic was chosen for the artist’s studio and the basement left for storage, while the ground floor was kept for housing. Only in the basement did the dark remain. By the middle of the attic a new skylight divides the light over two floors, illuminating the bathrooms and the stairs. In the living areas, new openings were made to connect the kitchen and the sewing room that flank the terrace. ![]() Thus natural light should cover the entire house without destroying its interiority. The owner is an artist who fell in love for the long corridor that divides the house in half, allowing the luminous garden’s green colour to be seen from the shady entrance garnished in dark brown wood. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. ![]() Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
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