Giomein公寓改造丨意大利丨co.arch studio

布勒伊盆地（Breuil basin）与切尔维诺峰（Cervino）的山体轮廓。在阿尔卑斯旅游业高速扩张的高峰期——新建滑雪道、缆车、基础设施与度假住宅不断涌现——吉奥梅因（Giomein）项目并未将山脉视为背景风景，而是将其理解为一个形态与感知的系统，建筑选择以此为参照来衡量自身。

Breuil basin and the profile of the Cervino. Conceived during the peak expansion of Alpine tourism—new ski runs, cableways, infrastructure and holiday residences—Giomein interprets the mountain not as scenery but as a morphological and perceptual system against which architecture chooses to measure itself.

▼建筑与背景的远山，building and mountain at distance© francesca iovene

本次改造涉及建筑四、五层的一处住宅内部空间，委托方是一对艺术收藏家夫妇。公寓原本保留着一个高度完整、风格鲜明的装饰体系：提花织物覆于墙面，并以花边饰带收口；地毯甚至延伸至浴室；木质护墙板、连续镜面与格栅天花共同构成一个高度统一且个性强烈的整体。这种自洽而完整的状态，使得任何额外的风格叠加都可能对原有条件造成张力。前期调研从两个互补维度展开：几何与材料。破碎的屋面平面与不断变化的坡度、多样的地坪高差、弧形墙面、三角形窗与凸窗，共同塑造了一个本已在建筑意义上“充满张力”的室内空间。

The intervention concerns a domestic interior on the fourth and fifth floors, commissioned by a couple of art collectors. The apartment preserved a strongly defined decorative universe: jacquard fabrics applied to the walls and fixed with passementerie, carpeting extending even into the bathrooms, timber boiserie, continuous mirror surfaces and gridded ceilings. It was a coherent, highly personal whole, complete in itself—making clear how any further stylistic layering could have strained the original condition. The survey addressed the space’s complexity across two complementary dimensions: geometry and materiality. Broken roof planes with ever-shifting pitches, varied floor levels, curved walls, triangular windows and bow windows shaped an interior already architecturally “in tension”.

▼公寓外观，apartment exterior© francesca iovene

随后，与施工方的深入勘察及分层探测表明，墙面织物与地毯因时间侵蚀已无法保留。织物的拆除不仅使墙体得以修复，也重新校准了室内高度关系，揭示出加尔瓦尼（Galvagni）建筑最为本质的空间结构。在这一“回归骨架”的过程中，室内的表现性元素更加清晰：外覆铜板、内衬落叶松木板的屋顶，通过高差变化与锐角体量呼应山脊线的逻辑；外挑的凸窗则被理解为一种“光学装置”，调节居住者与景观之间的关系。建筑在此成为一个视觉过滤器，引导视线朝向山体，将其严峻性转译为由线条与光之切面构成的居住语法——正如加尔瓦尼所言，是一种“类比物”（analogon），一种放大山体感知的装置。

Subsequent investigations with the contractors and stratigraphic probes clarified the impossibility of preserving wall coverings and carpeting, both compromised over time. Removing the fabrics enabled remediation of the masonry and a new calibration of interior heights, revealing the most essential spatial structure of Galvagni’s work. In this “return to the bare bones”, the interior’s expressive elements emerged more sharply: the roof clad externally in copper and internally in larch boards, echoing the logic of mountain ridgelines through variable heights and acute volumes; and the projecting bow windows, understood as optical devices that regulate the relationship between inhabitant and landscape. The building appears here as a visual filter that directs the gaze toward the mountain and translates its harshness into a domestic grammar of lines and cuts of light—an “analogon”, in Galvagni’s terms, a device that amplifies the perception of the mountain.

▼公寓入口，apartment entrance© francesca iovene

因此，室内设计在一种精确的平衡中展开：既保留20世纪70年代的空间记忆，又不直接复制其装饰语言。通过在全屋铺设Besana地毯，并在起居区、交通空间与卧室之间调整色彩层次，延续一种柔和而生活化的气质。在功能性更强的空间——如厨房与浴室——地面与墙面采用米色调石灰岩饰面，在冷却整体色调的同时保持材料连续性。

The interior design therefore moves within a precise balance: preserving the spatial memory of the 1970s without literally replicating its decorative codes. A soft, lived-in character is maintained through Besana carpeting across the home, with chromatic shifts between the living area, circulation spaces and bedrooms. In more functional rooms—bathrooms and kitchen—floors and wall surfaces are finished in beige-toned limestone, cooling the palette without interrupting material continuity.

▼柔和而生活化的气质，A soft, lived-in character © francesca iovene

一个明确的参照是卡洛·斯卡帕（Carlo Scarpa）的塔巴雷利住宅（Casa Tabarelli），尤其体现在对“反角”（contrangoli）作为空间界定工具的运用，以及对既富生命力又受控的墙面质感的探索。项目采用Calce del Brenta石灰涂料统一墙面，并引入一种克制的肌理，使之与原有建筑围护结构的触觉特性相协调。

A declared reference is Carlo Scarpa’s Casa Tabarelli, particularly in the use of contrangoli as tools for spatial definition and in the search for wall surfaces that are both alive and controlled. Calce del Brenta was used to unify the walls and introduce a measured texture, compatible with the tactile nature of the original envelope.

▼涂料墙面，the painted wall© francesca iovene

起居室是此次改造的核心，被设想为住宅的关系中枢。“下沉式会话区”（conversation pit）——这一典型的20世纪70年代室内原型——被重新解读为“室中之室”。通过重塑地坪高差，形成一个下沉区域，用以安置定制沙发；这一柔软的内嵌元素含蓄呼应了马里奥·贝里尼（Mario Bellini）Camaleonda沙发的模块逻辑。橡木结构界定空间边界，营造更为亲密的场域，并将视线引向嵌于Verde Alpi大理石体量中的整体式壁炉。

The living room is the heart of the intervention, conceived as the home’s relational nucleus. Here, the “conversation pit”—an emblematic 1970s interior archetype—is reread as a room within the room. Floor levels were redesigned to articulate a lowered area for bespoke sofas: a soft built-in element that discreetly references the modular logic of Mario Bellini’s Camaleonda. An oak structure defines the perimeter and creates a more intimate field, oriented toward a monolithic fireplace set within a volume clad in Verde Alpi marble.

▼起居室，the living room© francesca iovene

▼大理石壁炉，a fireplace set within a volume clad in Verde Alpi marble© francesca iovene

▼橡木结构界定空间边界，

An oak structure defines the perimeter© francesca iovene

上层设置餐厅空间，一张定制的浅蓝色修道院式长桌与沿墙固定长凳相配，加强与窗景及高海拔光线之间的联系。厨房通过一个旋转方形的新开口若隐若现——这是对加尔瓦尼公共区域中光之几何的克制致敬。一个Verde Alpi大理石踏步引向下沉区域，在那里，浅色石灰岩地面与泥绿色漆面橱柜及不锈钢台面形成对话。

The upper level hosts the dining area, with a custom-designed refectory-style table in a pale light-blue tone, paired with a fixed bench along the wall to intensify the relationship with the windows and high-altitude light. The kitchen is glimpsed through a new rotated-square opening—a controlled homage to the luminous geometries of Galvagni’s common areas. A Verde Alpi marble step introduces a lower level where pale limestone meets earth-green lacquered cabinetry and a stainless-steel worktop.

▼厨房空间，kitchen space© francesca iovene

走廊组织起卧室区域，通过定制元素与精准干预展开。儿童房设有一张定制双层床，仿佛一座微型内部建筑，介于北欧小木屋与阿尔卑斯山地避难所之间。主卧中恢复了一张由卡西纳（Cassina）生产、马里奥·贝里尼设计的20世纪70年代Le Mura床，以棕色灯芯绒天鹅绒饰面呈现。阁楼中的主人套房则成为一个近乎独立的篇章：木质平台宛如船舱，将休憩方向引向框景切尔维诺峰的转角窗，使山体成为恒常的存在。内部木质百叶窗进一步完善了对光线与外部关系的控制。▼阁楼卧室轴测图，attic bedroom axonometric©co.arch studio

A corridor finally distributes the sleeping quarters, developed through bespoke elements and carefully targeted interventions. The children’s room features a custom bunk bed that suggests a small internal architecture, somewhere between Nordic cabin and Alpine bivouac. In the main bedroom, a 1970s Le Mura bed by Cassina, designed by Mario Bellini in brown corduroy velvet, has been recovered. In the attic, the master room becomes an almost autonomous episode: a timber platform evoking a ship’s cabin and orienting rest toward the corner window that frames the Cervino as a constant presence. Here too, internal wooden shutters complete the control of light and the relationship with the exterior.

▼儿童房，the children’s room© francesca iovene

▼阁楼主卧，the main bedroom on the attic floor© francesca iovene

▼主卧细部，the main bedroom detail© francesca iovene

▼浴室，the bathroom© francesca iovene

吉奥梅因公寓的改造以“减法”与“精确性”为方法：剔除时间造成的脆弱部分，重组空间秩序，为加尔瓦尼的建筑恢复一种当代居住性。最终形成的室内空间中，景观不仅是视觉对象，更是一种结构性条件——进入屋顶坡面、光线切割的方向以及家具的姿态之中，成为居住者及其收藏日常生活的一部分。

The Giomein apartment works through subtraction and precision: it clears away what time has made fragile, recomposes spatial coherence and restores a contemporary domesticity to Galvagni’s architecture. The result is an interior in which the landscape is not only a view but a structural condition—entering the slopes of the ceiling, the direction of light cuts and the posture of the furnishings, becoming part of the everyday life of its inhabitants and their collection.

▼灯光设计，the lighting design© francesca iovene

项目另一条低调却关键的轴线，是当代艺术作品的引入。作品由业主——一对来自米兰的收藏家夫妇——精选，并作为空间构成的组成部分。走廊中，橡木转角构件的节奏框定了乔安娜·皮奥特罗夫斯卡（Joanna Piotrowska）两幅70×90厘米的银盐手工冲印摄影作品，以及杰里米·肖（Jeremy Shaw）的Cathartic Illustration。在起居区，伊娃·卢拉希（Iva Lulashi）于2024年双年展展出的Amari Rossori，为空间注入色彩张力，与材料的柔软性形成对话。绿色卧室中陈设了Nerone & Patuzzi NP2创作的木质祭坛装置——这一艺术家与建筑师团体长期探索艺术与建筑的融合。主人卧室则陈列巴勃罗·布隆斯坦（Pablo Bronstein）的双联画，这位与意大利文化想象相关的阿根廷艺术家，在此以一种博学而克制的姿态，与阁楼更为私密的空间维度形成对位。

Another quiet yet decisive axis of the project is the presence of contemporary artworks, selected by the owners — a Milanese collector couple — as an integral part of the spatial composition. In the corridor, the rhythm of the oak corner profiles frames and marks out two recent photographs by Joanna Piotrowska, 70×90 hand-printed silver gelatin prints, alongside Cathartic Illustration by Jeremy Shaw. In the living area, Amari Rossori by Iva Lulashi — presented at the 2024 Biennale — introduces a chromatic tension that dialogues with the material softness of the space. The green bedroom houses a wooden altarpiece by Nerone and Patuzzi NP2, a group of artists and architects that has explored the union between art and architecture. The master bedroom finally hosts a diptych by Pablo Bronstein, an Argentinian artist tied to an Italian imaginary, as an erudite, measured counterpoint to the more intimate dimension of the attic.

▼手工冲印摄影作品，hand-printed silver gelatin prints© francesca iovene

▼平面图，plan©co.arch studio

▼室内立面图，interior facade©co.arch studio

ARCHITETTURA PROGETTO DEFINITIVO, ESECUTIVO E DIREZIONE LAVORI

arch. Andrea Pezzoli e arch. Giulia Urciuoli

team collaborators

Federica Leonardi, Alice Ricci, Tosca Lagona, Natália Zaťková, Gaia Uslenghi

Photos by Francesca Iovene

Site- francesca iovene

General Contractor – CF Ediliza sas (edile, pavimento, Impianti e strutture)

Serramenti e scuri – Falegnameria Tarantola

Moquette – Besana

Muri – Calce del Brenta

Sanitari- Flaminia

Rubinetteria – Cristina mod. Tricolore

Arredi su misura – Rabatto (rabatto.it)

Luci

Davide Groppi – Masai

Astro – Ortona

Artemide – Dioscuri