It was a beautiful day in between architecture and anecdotes from the villa. Above all, remembering as a generation of entrepreneurs, at the turn of the economic boom and the birth of the famous Districts of the North East to which they had contributed, turned to architects capable of giving shape to their ambitions. Having presented several dedicated publications along the way was appreciated, many original drawings and also many invoices of the time lovingly typed on two-color tissue paper. Testimony of a sign of the times which completes the history of the villa and its arrival today with many parts (practically all of them) still faithful. By the way, we'll do it next year 50 years. We need to think of something!
Chatter, stories, conviviality, handshakes, turn of the park, nature and refreshment in full mood Villa Bornello.
Sponsored by Treviso Architecture Foundation and from’Order of Architects of Treviso the project AOMV (Atlas Of Veneto Modern) it is a project that aims to tell the story of the Region through the architecture of the second half of the 20th century. In this period of time, between post-war reconstruction, Marshall plans, economic booms and more, a territory that until a few years ago was predominantly agricultural gives rise to a new generation of entrepreneurs and administrators who give rise to profitable commissions with as many architects and professionals. The project Atlas of Veneto Modern, by the Arch. Davide Bertin, it is not a guide or a tourist map, but an essential tool, inseparable and portable. Vehicle at the service of those who participate or, more simply, he is interested in Italian architecture in Veneto. An exhaustive atlas of "good building" created in the second half of 900.
Atlas of Veneto Modern observes architectures that in some cases have lost their function as a home or infrastructure, but they still show materiality, decorations and details, difficult to replicate today.
E’ above all a new way of thinking, halfway between architecture and sociology, to watch, get an idea and cover established territory, also, of architecture.
For the Villa the date is that of 6 July. Save the date.
Guests say they resemble Portuguese azulejo tiles. To some they remind Provence or Sicily. But the truth is another. A tour of the Museum of Santa Caterina (Treviso) it gave us a curiosity and in looking for the fathers of these coverings we ended up at Ceramics Museum of Faenza where we found our own tiles. But let's go in order.
Giretto al St Catherine's Museum of Treviso where, between culture and popular traditions, we find a stand dedicated to The Painted City of Treviso, from the homonymous in-depth study of the decorations in Treviso over the period from the 13th to the 21st century. The accompanying text reads : ” The same taste manifests itself in the exteriors of the Treviso buildings, he also expressed himself in the interiors with the application of colors and decorations on every wall or wooden surface available, from floor to ceiling”.
At the museum and in the kitchen
Even though we don't have frescoed surfaces, we enjoyed seeing the graphic similarities between the ancient Treviso wall decorations and the hand-painted tiles in our kitchen (produces. Seagulls).
Then a doubt: being that Gabbianelli (who his own story) it is a historical and particular brand, we got to the bottom of it by discovering that our tiles are present at the Ceramics Museum of Faenza and exactly who. Seagulls he collaborated with Giò Ponti, Enzo Mari, Italo Lupi e, udite udite, also with the young designers and planners of the villa Roberto Pamio and Renato Toso.
Let's start with the Treviso museum. Here are the pictures of the decorations.
The kitchen of the Villa. Details.
The big kitchen, flanked by a very useful kitchen sbratta where we find worktops and appliances, it is studded with jumbled tiles. Where a single tile repeated several times would have donated an order given by composure and repetitiveness, here some lucid madness – which also peeks out elsewhere in the villa – he gave the order to place them at random, creating an unsettling game and colors that are still current.
Gabbianelli catalogues. Circa early 70's
Thanks to Museum of Ceramics of Faenza, to the kind director Claudia Casali and the librarian Marcela Kubovova we went back to the series ‘ Hand decorated‘ by Gabbianelli that covers our kitchen. The series remained in production for about a decade. In the 'sbratta kitchen’ instead we have the series ‘cabochon‘ designed by Renato Toso in 1973 (Studio Pamio-Toso) also decorated by hand and in which opposite angles of the same color on square tiles led to combinations (quasi) infinite. In the following images the original catalogues Seagulls. (click on the images to enlarge)
What to say? A beautiful adventure 'coated’ (it is appropriate to say) of pleasant surprises. Historical courses and appeals.
You like the design? who some pieces on the subject. If instead you want to host your own event – whether small or big – here with us, please contact us.
They have been telling us for some time that we should also wink at tourism.
Here we are.
Original tour in two steps to the architecture of the second half of the 20th century the one that starts from our villa and arrives at the Brion Tomb. Organized together with the lords of Meter, always non-trivial in their offer, provides for the meeting in the villa for the visit and breakfast to then leave refreshed towards the masterpiece of Carlo Scarpa who decided to be buried there.
The initial purpose of the tour was to leave Villa Bornello to visit residences, factories and architectural sites in Treviso of the second half of 900 (especially of the period 1960-1985) preferably wanted by private clients, united from having believed in architecture as a language creator of places with a strong identity, and from the search for one's own quality of life and a representative place for one's business. Places still modern today. *
Often these patrons were entrepreneurs (as in the case of our villa and the Brion tomb) of the famous North East Model, and it is not out of place to think that these works are in a certain sense allied with the Venetian villas of which they share the territory. The agricultural and landowner use of the Venetian villa is not naturally present in the residences of the wealthy Venetians of the 1960s or 70, young during the war and hit by the economic boom, but they certainly have in common the fact that they were also designed to flaunt a census. The one and the other as representative residences. Hence the contact, 500 years ago as a few decades ago, to well-known architects. Scarpa, Morassutti, surplus, Fontana, Rossi, Goria, Porters&Flag, twin, Pamio, just to name a few of the Treviso area.
Back to our day. The breakfast, ideal opportunity to recharge your batteries and get to know the other participants. This will be followed by a visit to our villa designed by Roberto Pamio in the same years as the Brion Tomb, with its particular spaces, the double-height central hall, the grand monumental staircase, the eccentric cone section in the east wall and the unique "in casa" pond. All embraced by a hectare and a half of parkland.
We then move to the municipality of Altivole and immerse ourselves in the Brion Tomb, a monumental site of recent FAI heritage, with its obvious traits related to modernism, to brutalism, to Venetian art and oriental philosophies.
*It is not excluded that in the future the tour will last the whole day with a visit to other recent architectures.
