For artists, there is no detail that is small. When I met him I was struck by the good-natured vanity of the architect. Perhaps because he is Venetian, perhaps because he is an architect. Certainly because he knew he had used ancient materials such as glass or wood in modern objects from less is more. It helped that between art, architecture and design has been through every bit.

When he came to our villa, designed by him together with Renato Toso, he didn't talk about the volumes, of double heights, of the elevations, large fixtures or light. Instead, he pointed out the little things to friends and colleagues who accompanied him, the details at the time perhaps escaped the control of the client and on which he had followed the soft lines used a little’ everywhere. Finishes for which it is sometimes necessary to look under a table, leaning over a wall, pass a hand to feel it by touch. The smoothness and moldings of wood and marble, the sinuous base of the lunch bench, designed to accommodate the feet, which dialogues with the concave steps of the large central spiral staircase. Among them the terracotta tiles of the fireplace, of which we propose his original drawings, the maritime staircase, the eccentric cone, the long Venetian wall. And so on.

“When I was working in a lamp components factory, I met the architect Pamio” a technician once told me, now retired. And he added : “si involved bending a metal stem for one of his lamps in three different places. I did not object with him but when I was alone with the owner I confessed that one or two folds remained in the costs, the third would make them rise. I said it was 'the stuff of architects', that two were enough and that the next meeting with Pamio would tactfully dissuade him from wanting the third, worth putting on the market a lamp with an excessive cost with repercussions on sales.” When the architect returned shortly afterwards, the owner took it from afar, depicting a lamp that was still beautiful but with a more attractive cost and higher sales. With all-Venetian pragmatism, the owner said that it was easier to sell a thirty thousand lire lamp rather than a sixty thousand one.. Pamio's answer was, the worker tells, of the following content: “the third fold is done because I design for those who want to spend sixty thousand lire.”

And when one day, in the villa, sitting on his' Checkmate’ designed for Arflex, I asked him what kind of client my father had been, he replied wisely, managing to join dig, pride as an architect and esteem: ” un pain in the ass but in the end he did as I said because he liked beautiful things“.

Hello Roberto.

@robertopamio , architect and designer of the villa, he called it a landscape house. We have interpreted the landscape from within. Pamio's archetypal window opens canvases of green. North, is, South, west, everywhere the windows frame the nature that surrounds us. And that in some cases you can touch it with your hand. From the ground floor to the attic. Sometimes a small object tells the room that that hole gives light and air to.

Searching the web they discover themselves interesting things.

Editions Di Baio. It states Claudia Molteni, about the end of the years 80.

The piece it's about a reflection on the use of water near the house. Among the architects it is mentioned Roberto Pamio. Guess which of his architectures is taken as an example.

Of Pamio the author recalls the desire to always include a mirror of water and a fireplace in her works. Water and fire, primary elements for man.

In the case of Villa Bornello they are aligned with each other and seem to look at each other. The fireplace as a family communion around the winter fire, the second as a communion around the water in the summer.

We keep the dimensional drawings of the cladding tiles of the fireplace. We talked about it who. What do you say, Roberto, recognize the hand? 🙂

Photo credits: we thank the association I Love strada Ovest which we have ‘ stolen ‘ the cover image. (and that after all they are almost our neighbors) 🙂

http://www.dibaio.com/360-gradi_22/

Until yesterday in the North East hectic someone invoked 'stop the world I want to get’. Now all He really is arrested. Only we are not descended. Tap stay indoors.

For those of us who make the event a moment of encounter and exchange is really tough.

Of course the villa has canceled or postponed all events.

The queues at the supermarket, the police on the roads, masks. It 'a situation in which time is suspended dilated, too much, and it allows you to linger on details.

made Details of space and light. That is no shortage in villa. Few panoramic and no images of events. Least of business. In the quiet of these days only Wood details, glass, water, marble, Stone, play of light and oddities. What we want to share with you.

Everything will be fine.

Jac Jacobsen (1901-1966) It is the father of Luxo, which later became Naska Loris, the famous lamp 1937 become a design icon much to also be mascot of the famous production company Pixar since 1986.

The villa it houses some. They were at the time you think, and they are used even today, both bedside and as leading lights in the ceiling instead of lamps and the like. In the photo you can see the cheeky and colorful Naska Loris original of the time still faithfully in place. Everything reflected and still reflects the architect's original intention today.

But what is their being ‘ cheeky’ and at the same time an archetype? Barbara Canoci, who writes, comes to our aid: ” here it's unveiled the mathematical law behind all lamps with spring-balanced arms.

This is the 'application of the so-called "articulated quadrilateral", in which the sum of the shorter rod lengths and the longer one is less than or equal to the sum of the lengths of the other two rods.

In reality, the arm of this kind of lamps is formed by two articulated parallelograms coupled, ie by two articulated quadrilateral in which opposing rods are of equal length, and consequently always remain parallel to each other. That is why the lamp in question can be moved in up-down and forward-backward without changing the reflector which always moves parallel to itself. https://www.home.vintag.store/post/le-forme-di-jac-jacobsen-leggi-matematiche-e-luce

Simple, no?