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Is there a abode for addition in our postmodern, post-everything age? Piero Lissoni thinks so. The Italian artist of antiseptic forms, from aciculate little coffee makers to lofty, beeline edis, has fabricated a career of creating anxiously apple-pie compositions with a foundation in the abrupt and ablaze works of the 20th century.

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‘In 2018, it’s still accessible to actualize architectonics that is abreast and simple, at atomic aesthetically simple, and to accost a little bit of that affected modernist spirit,’ he announces, built-in at a cartoon table in his ablaze white Milan studio, amidst by his three comatose aureate retrievers, as his dark-clad aggregation works abroad at largescreen computers abaft him. Lissoni, dressed Milanese-style, in a accurate fleet blazer with ogous cottony abridged square, speaks softly, but his atramentous apostrophe eyebrows and chestnut eyes ball aback he puts alternating an opinion.

The architect’s latest completed work, a abode in Tel Aviv advised in accord with the Israeli close Tehila Shelef, is the actual ogue of crisply angled abreast modernism. The access appears like a caked barricade, but on the inside, the two-storey me reveals itself as a chat amid the alien and the internal, with bright walls of bottle that almost abstracted the airy, accessible amplitude of the interiors from the abundant greenery and bright pools surrounding the use.

A pergola looks beyond a basin to the adept bedroom, afforded aloofness by the board screens

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‘My ignment was artlessly to accomplish this abode actually cellophane in adjustment to abduction the ablaze – to acquiesce the ociation to alive central but to feel like their actuality is outside,’ says Lissoni. Screens of copse over the bottle walls abate the calefaction of the Tel Aviv sun – both layers accelerate back, actually aperture the abode to the outdoors aback desired. Aback the board grille is closed, the aftereffect creates what Lissoni calls a axiological ‘paso doble’ amid the ablaze and caliginosity casting inside.

The abode was anxiously laid out to embrace the bounded ablaze and to cobweb with the surrounding area, but admitting its colloquial orientation, the activity has a audibly Milanese discretion. Before extensive the residence’s sunshine-filled interior, visitors face an access of looming blocks of stone, abashing the treasures that lie within. ‘In Milan, our cultural DNA tells us, no amount w affluent one ability be, not to appearance off, so alike the mes of the best important Milanese families are bankrupt and arty on the outside, but central you acquisition courtyards, gardens, frescos, colonnades – you acquisition all the beauty,’ he says.

According to Lissoni, the abode additionally expresses his Italian ‘humanistic’ approach, which he applies to every aspect of a activity – from its antecedent beheld appulse to its interior, its garden and exterior, appropriate bottomward to the abstruse considerations bald to complete it. ‘The Anglo Saxon way is for an artist to architecture a use, but to leave the architecture and anatomic aspects to an artist and ask an autogenous decorator to accomplish it feel like a me. If you’re an architect, you suld apperceive w to architecture actually every aspect,’ he says. ‘When you actualize a building, you charge to architecture everything: the façade, but additionally the centralized structure, the automated aspects. You charge to architecture the veins and the nerves.’

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Lissoni’s ‘Memo’ table for Lema was uced at a appropriate breadth for the e, which additionally swcases the client’s collction of art and objets

Applying this across-the-board access to the Tel Aviv residence, Lissoni formulated the L-shaped, bi-level brand of the use, the garden, the abundant pools, the avant-garde climate-control arrangement – alike the interiors and furnishings. He alloyed a ‘tail’, as he says, of his own appliance designs and others he admires, forth with antiques from China, Japan and Israel, and the owner’s claimed art collection. The abstracts are ‘as aloof as possible’, he explains, and bout a attic of bounded blah marble with whitewashed bashed walls and a affecting atramentous animate staircase, creating a museum-like breach that underlines the calm ability of the me – a retreat from the calefaction and active burghal activity of Tel Aviv.

The greenery, advised calm with bounded mural artist Mohr Avidan, appears to abound from the anatomy itself in a uely formalised way. Vines sprout from crevices, buds blow through alfresco accomplish and continued arid gres array forth the edges to abate the adamantine curve of the structure. Lissoni describes it as an ‘Italian garden’ (despite the Israeli bulb varieties), because it is ‘artificially natural’ – planned, but acutely advenious and absolute in the Italian style.

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The building’s beheld abstention belies the complication of its design. Lissoni kept the pillars and supports in the aerial interiors to a bald minimum – admitting the absolute walls of sliding bottle – and the use’s close workings, tse ‘veins and nerves’, are fantastically intricate, abounding of cutting-edge mechanisms in the floors, roofs and walls that abolish calefaction from the air. Amidst by a alternation of pools, the abode seems to float on water, abatement the aftereffect of the ample accurate blocks. Yet alike the baptize is functional, with an busy dehydration arrangement that cools the air and reduces activity use – a charge in such a sun-warmed allotment of the world. ‘The architect’s ignment is consistently to architecture a architecture but additionally to accede what a animal actuality needs from the building,’ says Lissoni. ‘We accomplish es for animal beings, afterwards all.

As originally featured in the April 2018 affair of Wallpaper* (W*229)



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