The proposal has an integrated circuit, meaning an element that sews the entire program of uses of the Villa Altissima. A circulation of irregular geometric configuration that contrasts intentionally with the living organism defined by the hanging wire mesh. This piece shares, along with the nature trails, the responsibility of sewing the whole of the project’s circuits. Its erratic configuration responds to experiencing interstitial spaces, ( serendipitous exchanges ) some are spaces in themselves and other circulations where the artistic and exhibition experience is integrative.

This circulation is turned into theatre, generates exhibition spaces and connects the visitor to the workshop and atelier areas, concluding in the performatics square (-6.00), as well as in the restaurant (level +/- 0.00). In this way the visitor can stay in the Palazzo, and experience the theatre, art gallery, atelier visits, workshops and restaurant all under one footpath. The route does not have a beginning or an end, it has the versatility of being able to enter from any point. There is one piece in particular that functions as a return point, creating a loop within the art gallery: the long ramp that runs along the façade between the old façade and the new ETFE skin that covers this circulation. Three spaces complement the program, these are: the terrace viewpoint, the “forest eye lookout” and the performatics square, all of them are an integral part of the circuit.  These three spaces combine environmental awareness and artistic exploration as a vehicle for self-knowledge.

The available square meters are used for guest room programs, artists’ rooms, restaurant, ateliers, workshops. The strategy in the original buildings is fundamentally to preserve the Pallazzo and the Cottage and to work through volumes that operate slightly on the old building, suggesting a respect for the conservation of the original building. This sober resolution integrates a contemporary proposal and with it an awareness of the flow of time translated into calm and contemplation.

These volumes propose a sub-programme within the programmes and are made up of two skins, the exterior through the thermoformed PES fibres with open joints and the interior in both acrylic or timber deking depending on the use.

The art cabins, are semi-covered structures conformed by the same constructive logic as the wire mesh, which are integrated through natural paths in the different levels of the whole Villa. These spaces have the same logic, but a different materialization, of an organism whose native vegetation and geometry, interpellates the visitor inviting him to be aware of the finiteness of human existence and the importance of understanding that art is a foundational tool for the human being.

It is impossible to ignore the fact that hotels today base all their proposals on thematic aesthetics and integration activities for the pleasure of their passengers and this is an undeniable advantage over temporary spaces, such as Airbnb. So why is Airbnb a threat to the hotel business? Why do most hotels base their proposals on themed? Nowadays Airbnb is like being at home, on the other hand hotels are a place of transit despite the renewed thematic proposal, all of them dress and undress according to fashion without a specific identity. This explains a lack of IDENTITY.

Our proposal is summarized in two words IDENTITY & COMMUNITY, both resolved as part of the operation and entertainment of the hotel. Identity is an integration of concepts that define an individual or thing, but the hotel should not have a defined identity but should rather serve as a packaging. A large skeleton where each passenger can fill it with his or her possessions, as well as in each passenger’s home. A truly Tailred Offer.

The composition must be consistent with a system that gives it unity. We do not conceive interior architecture as a sum of elements (decorative objects, furniture, lighting). Our proposal is defined by a wide group of pieces that conform a space in itself. This allows multiple possible configurations for use in new or existing hotels to be renovated.

These pieces together constitute a living organism, versatile and adaptable to each “key space” of the hotel, which shapes and organizes from the lighting to the fixed and mobile equipment of the hotel.

In addition to its organizational function, it has a symbolic function: to store through its old suitcases the personal belongings of each traveler who passed through this hotel. Of the old suitcases, their stamps that show the passage through the states and provinces are part of the local identity captured in a wallpaper. From the visual communication we emphasize the collective local identity of the citizens through a huge video wall in the front desk. We also propose the active presence of the most representative nature of the local flora (ECO CONCEIVED). All of this is brought together in a single binding construction system.

It is a emptiness, as such defined by a pure and simple aesthetic. Sterile of imposed aestheticism, although its lines undoubtedly construct a universe associated with that modernity of the stripping away of eclecticism and the ornamental, the status of the contemporary man. This dispossession is nowadays called minimalism, that means life with the minimum and necessary. Something truly timeless. The minimum calls us to reflection, starting from the conception of life in a minimum and measured, basic, sustainable consumption.

The contemporary traveler knows that a stroller can carry everything he needs. We believe that today, without a doubt, a camera, a laptop to write on, a book to read or a notebook to draw is more valuable than two suitcases full of clothes. It is these elements that define part of our identity. The value of the emotional over the material.

The universal is identity. That aspect that defines us.

The user of the Delta is the one who enjoys all seasons of the year, as well as tourism that ideally demands full season. Thus, the project focuses on providing spaces for enjoyment in both, inner and outer spaces of the cabin. The exterior is represented by a dock which turns into the outer gallery of the cabin, as if it were a large dock-gallery; a generous space that confronts you to the river, a continuum from the living room directly to the river. Inside, the result of an operation of voids, forms a bright, white and ethereal space. The attention is captured by a Scandinavian salamander that becomes the focus of this space and reveals, behind her, the great landscape of the Delta through a window in an angle, almost like an ode to winter enjoyment. Functionally, the cabin contains two circulations which respond to warm and cold temperatures. The outdoor gallery is a space for vegetation, filtering the sun entering the rooms in summer, and offering a place for relaxation in touch with nature in winter. The project, made entirely of wood and a frame structure, allows the possibility of growth in a linear way. It is constructively simple and, above all, economic. Furthermore these wooden structural frames serve as architectonic elements that provide high spatial quality as well as support for any recreational equipment. It defines itself as a tectonic-functional element. In terms of form, the project relates to the characteristic elements of the delta’s landscape, the docks and the cabins.

The idea was to not deviate from these elements that constitute the genuineness of this region, but to incorporate and complement them with a very contemporary inner organization and construction. The project admits full enjoyment even in rainy weathers thanks to its semicovered gallery and the generous outdoor space even when the river rises. Both the cabins, the 38 m2 and the 54 m2, meet sustainability requirements which generates significant energy savings for the user.