The architecture, right in the center of Padua, dates back to the fifteenth century. It was originally a convent, then it changed its destination and was divided up at the beginning of the last century. Now the different real estate units function as terraced houses, neighboring houses, all on several levels, with private garden.
This is from a couple who work in fashion. The architect, Lanfranco Pollini, he had already collaborated with them, he knew their tastes well. «They really liked an ancient barchessa on the Brenta that I designed years ago. Knowing that I work in a certain way, they trusted me.” It started from a great base, but the interior wasn’t quite as impressive. The comparison between the before and after published on her Instagram profile says it all. On the garden front there were only windows, weighed down by protective bars. It was enough to transform them into French windows for it to become a whole other house: now the front overlooking the greenery it recalls certain hôtel particuliers in Paris that are seen in films.
The other structural transformation can be seen in the photos of stairswhich used to be more traditional and anonymous, now has one sculptural presence. The inspiration comes from the 1940s. “The building
it has undergone various transformations, little or nothing of the ancient remained. I found signs of a renovation of those years and I decided to go in that direction”. Looking at the project closely, one discovers the attitude of an architect-craftsman. Windows and doors were created specifically for this house. «The windows and doors are the sore point of many restorations. To adapt to regulations they become increasingly massive and cumbersome”, points out Pollini. «I worked to reduce the thicknesses. I wanted restore the charm of the windows of the pastmuch lighter than now.”
For him, tailor-made is the rule, and not infrequently the solutions he tempers are transformed into mass-produced products. This is the case of the parquet, cataloged by a company from Mogliano Veneto, Parquet Antique.
«I liked the idea that the floor didn’t look new. This is, but thanks to a particular workmanship and accentuated joints it gives the impression of a restored parquet.” The same care was put into all the details, from the boiseries, to the fixed furnishings, to the curtains. The end result, with that mix of squares and sinuous linessmooth and rough, full and empty, recalls the style they call today ‘minimaluxe’.
«I like formal synthesis, in architecture everything must be very clean. No frames, no skirting boards… On the other hand, I’m a atypical minimal: I don’t like cold houses, I always try to warm them with objects.” He selected all – or almost all – of the furnishings and accessories, looking for the perfect combination of ancient and modern. He is not an imposing architect, he says, he interprets the taste of those who have to live in the house. It remains undeniable that certain passions are first and foremost his, and can be found in other interiors that he has designed. One for all, the bears of François Pompon, a pupil of Auguste Rodin who exclusively sculpted animal figures.
Finding very particular objects is not always easy: «But the longest and most difficult job is to make the customer understand what I am proposing. He must have time to assimilate the proposal.” Surely, the most curious presence is the reproduction of Cupid and Psyche by Canova positioned at the entrance, which can also be seen from the outside since the armored door is made of transparent glass. «It is a practically unobtainable art object from the early twentieth century, for which I had a base built. I regretted giving it up a little. In hindsight, I would have gladly kept it.”
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