Alps Villa - Brescia, Italy - by Camillo Botticini Architects

The project was developed by Italian based studio Camillo Botticini Architects. The house stands on a clearing in the trees, 700 meters above sea level, close to the "Passo del Cavallo", next to a road that connects Trompia Valley and Sabbia Valley on a steep slope.

The landscape is characterized by an open valley to the south and a frame of green mountains with peaks of dolomite rock to the north.


We are still in a place close to the urban noise but at the same time far away, where the aroma of mountain herbs and grazing sheep seem to have stopped time; and this determines which condition founding: a primary relationship between the artificial intervention and nature.

To the south a large window splayed mediates between the interior of the living and landscape, the light coming from the south continued with a bay window to the north patio.


The relationship with the ground and the landscape are the material that construct the project: the ground by communicating with the project operates a principle of "rootedness" into the slope to the north, where the house seems to bite the mountain, and the principle of "emancipation "to the south, with an overhang that throw the home to the valley.

To the north, a courtyard open to the Mount allows you to look at the profile of the dolomite rock spiers that at 1200 m above sea level continues the green plane tilted so that virtually close the fourth side of the house.

Lightweight, integration at the site, opening and closing, no exhibitionism, connection to foundational principle generated by the performance of the ground and the internal organization of space, producing an idea of domestic that offers a contemporary housing responsive to the site.

These are the elements that make up the set, with a will of harmony and tension, looking for an architectural shape by the strong expressive intensity, but at the same time a shape of balance and rooting in the use of natural materials such as oxidized copper and wood.

The house has an irregular plan shaped like a "C" with a patio where the fourth side is made from a green plane that delivers the planimetric structure that generates the spaces of the house, creating three bodies with variable height increasing from north-est, where the volume disappears by integrating into the ground.


Setre Marina Hotel - Japan - By Ryuichi Ashizawa Architects

The project was developed by studio Ryuichi Ashizawa Architect & Associates have considered how future constructions and reconstructions could be performed in a way that connects people to this concept of natural life and style.

The ‘setre marina hotel’ located in moriyama city, shiga prefecture near lake biwa, is not only in the center of the community, but also its catalyst for creation. 

The transition area between the lake and the land is evident through a variety of changes caused by developments of the 20th century, where even the seawall has lost its original shape. 

In the terrain, endorheic basins left by the transformation of the water link the city from its ancient times to the present day. In response, the project applies the idea of an ecotone, a transition area between two biomes, towards the building.

Created through rainwater, two small inner ponds surge like site-specific biotopes in the east and west sides. this will help nurture the woodlands into a thriving forest, distinguishing the architecture as an object within the context.



The Hotel Vincci Gala - Barcelona, Spain - by TBI Architects

The project was developed by Spanish based studio TBI Architects. The Hotel Vincci Gala is a four-star hotel with 78 rooms, bar, restaurant, meeting rooms, and various terraces, situated in a period building in Barcelona´s Eixample district.

The design of the new Hotel Vincci Gala is marked by two requirements. Firstly, the obligation of the Monument Protection Department of Barcelona to conserve both the facade and a large white marble staircase in the inside of the building and secondly, the name of the Hotel: "Gala" referring to the wife and muse of the surrealist painter Salvador Dalí.

Gala and Dalí formed an unlikely pair and similarly, the project reconciles multiple contrasts between the old and the new, the discrete the extravagant, the elegant and the informal.

The color gold is the keynote of this hotel that is repeated in different shades and applications, both on the external facade and the interior of the building, combined with organic shapes and contrasts between light and dark.

The main material is metal in contrast to the stone and marble of the original architecture.
In addition to architecture and interior design, the TBI office is also responsible for lighting, decoration and graphic design which have achieved a complete and homogeneous design up to the last detail.

On the ground floor the most common areas of the hotel are located. These are mainly divided into three spaces: the lobby, the lounge area and the bar, each of which has its own personality.

The spacious lobby is characterized by the contrast of the large existing white marble staircase with a darker, contemporary and stylish interior designed to restage the staircase and to further emphasize her resplendence. The hotel bar is situated under the central staircase, forming a rectangular box fully encased with anodized gold expanded aluminum panels. A continuous element of black Corian frames the opening of the bar and forms a contrast between its organic shape in deep black and the rectangular gold box.

In the transition to the bar, the pavement changes from black marble to light oak flooring to create a warm atmosphere fusing modern with old and elegant with informal.

The lounge area is situated beside the central staircase. Wooden covered pillars form a barcode frame a protected and comfortable space with a private atmosphere.

The restaurant with the breakfast buffet and two meeting rooms is located in the basement. A flexible system of mobile partition panels enable the space to be divided as necessary, adapting it to the required use. 

The central atrium is the heart of the hotel and permits natural light to sweep through the building.
Golden aluminum chains hang like an enormous veil over the glass balustrades. Dark linear patterns are integrated in order to create a singular optical effect. In addition, strings of LED light have been integrated into the hand rails making the golden curtain shine. 
The unique geometric design of the curtains has been extended to the doors of the rooms and the patterns on the flooring in the hallways, creating together the sensation of a virtual space, characterized by the superposition of light, transparency, texture and the golden color.The main facade of the hotel is divided into two parts, the old neoclassical facade and a new 3-storey extension. The facade of the extension consists of a curtain wall and a layer of panels of expanded metal and creates a dynamic facade with a composition of openings and variations of orientations of the expanded metal that is enclosed by the existing cornice and a new top section.


The Fondation Jérôme Seydoux-Pathé - Paris, France - by Renzo Piano Architects

The Fondation Jérôme Seydoux-Pathé is an organisation dedicated to the preservation of Pathé’s heritage, and to the promotion of cinematography. The new headquarters was developed by Italian based studio Renzo Piano Workshop Architects.

The building sits at the centre of a block in Paris’ XIII arrondissement, where a mid-19th century theatre - transformed into one of Paris’ first cinemas in the mid-1900s, radically transformed again in the 1960s - once stood.

The new building, which will be finished over the next few months, will house Pathé’s archives, exhibition spaces for temporary and permanent collections, a 70-seat screening room, and the Pathé Foundation’s offices.

The project called for the demolition of the two existing buildings to create an organic shaped ‘creature’ that better responds to the restrictions of the site. The idea was to respond to the functional and representative programme requested by the Fondation, while at the same time increasing the quality of the space surrounding the new building.

The facade on the avenue des Gobelins has been restored and preserved, for its historic and artistic value. Decorated with sculptures by a young Auguste Rodin, it is not only a historical landmark, but also an iconic building for the Gobelins area.

A new transparent building just behind the street facade that looks a little like a greenhouse, is the public area of the Foundation. From this building visitors have a view through the transparent ground floor of the second The peculiar design of this building is determined by the limits and requirements of the site. While keeping its distance from the surrounding buildings, the new building actually improves its neighbours’ access to daylight and air and by reducing the building’s footprint, the project creates space for a garden at the back of the site.

The upper part of the building is made of glass, providing natural light for the Foundation’s offices.
From the street the building is glimpsed through and over the restored façade - a discreet presence during the daytime, it will softly glow at night.


CERÁMICA TRIANA - Seville, Spain - by AF6 Arquitectos

The project was developed by Spanish based studio AF6 Arquitectos. The building compromises an old pottery complex, exhibition center of ceramics, an interpretative center on different tourist routes in the quarter of Triana.

In Seville, the fact of crossing the river and getting into Triana is like crossing an imaginary border where the logic of the generation of the historical city blurs.

Triana is a quarter that displays itself at a small, close, almost domestic scale. It is a complex urban area which mixes neighbors’ yards, craft workshops, popular homes and other type of housing which originated by the mid 20th century residential growth. 

The ceramic production was one of main crafts in which the development of Triana is based since its origin, existing thus a strong identity between the neighborhood and the pottery activity.


We are in an area with enormous appeal for contemporary Architecture. In Triana we will not find new large public buildings, far from it we find places for alterations or infiltrations through slight modifications, allowing us to discover new possibilities in a diverse and heterogeneous urban configuration.


The old factory kept its production until the end of the 20th century. This fact has permitted that many of its elements are complete and located in their original site: seven firing kilns, a well, pigments mills, workshops and warehouses. During archaeological works, remains of other 8 kilns, out of which the oldest ones were in use until the end of the 16th century, were found. Two of these kilns have been integrated into the project. The old factory is not visible from the outside; it is hidden behind the buildings which make up its urban image.