MoDus Architects

MODUS ARCHITECTS

MODUS-ARCHITECTS_archmarathon

Sandy Attia and Matteo Scagnol partner as MoDus Architects in the year 2000 after having completed their graduate studies at Harvard University. The studio distinguishes itself by its heterogeneous approach to the field of architecture, combining the two different cultural and formative backgrounds into one platform for design ideas. Completed projects range in scale from infrastructure, to buildings, to objects within the buildings, and include public, institutional and private commissions.

Main projects:
Psychiatric Ward, Bolzano, BZ, 2014
Renovation and Addition to an Elementary School, Ora, BZ, 2013
Artist Residence and Atelier, Castelrotto, BZ, 2013
Elementary school and branch library, Bolzano, BZ, 2012
Pre-School, Kindergarten and Family Center, Bolzano, BZ, 2012
Kofler-Neumair House, Bolzano, BZ, 2012
Damiani Holz & Ko Office Building, Bressanone, BZ, 2012
Heads up Highway! Cultivating Energy 2050, Installation for the MAXXI exhibition titled “ENERGY. Oil and Post-oil Architecture and Grids,”Rome, 2012
Farmhouse Estate, Renon, BZ, 2012
Ring-road, Bressanone-Varna, BZ, 2011

www.modusarchitects.com


ARTIST RESIDENCE AND ATELIER

MODUS ARCHITECTS

Photos courtesy of Hannes Meraner, Martina Hunglinger, Niccolò M. Gandolfi

ARTIST RESIDENCE AND ATELIER

MODUS ARCHITECTSarchmarathonMODUS ARCHITECTS
Fallmerayerstrasse 7
39042 Brixen, Italia
www.modusarchitects.com
Category:
Private housing
Project selected:
ARTIST RESIDENCE AND ATELIER
Location:
Castelrotto, Bolzano, Italy
Year:
2012

Perched atop a ridge on the outskirts of the historic city-center, the house splits into two interlocking volumes to open up and look out over the valley of the South Tyrolean town of Castelrotto. A bifurcated concrete plinth negotiates the sloping site from which the twin wooden elements rise up on a stilted timber structure to free up the view across the site at the ground level. Tightly wedged between the house that the artist Hubert Kostner grew up in and a neighboring traditional house, the constricted site prompted a more vertical solution where the roof plays a dominant role.
Joined together at the hip with a spiral staircase, the constituent programs of the atelier and the house pivot outwards and elbow their way into one volume or the other like two cantankerous siblings. The work spaces of the artist’s studio, along with a small gallery, are located in the basement level and are accessed by a ramp to facilitate the loading and unloading of unwieldy materials and artwork. One of the work spaces is a double-height, north facing studio with an even, indirect sunlight ideal for artistic production.
In building a house and atelier for the artist in his touristic yet scenic hometown, Kostner persistently engaged us in a bantering dialogue of irony between tradition and tourism, structure and ornament, that which is necessary and that which is not—to name but a few—while demanding that we hold steadfast an expression of architecture where no detail was left unturned, where everything was neither standard nor frivolously custom made. This way of working applied not only to the scale of the building, but also to the scale of all the things, objects, and surfaces within the building. For example, while much of the cabinetry and furniture is made specific for the project, an eye for simple but surprising solutions along with a limited budget kept the design process in check.