Questo progetto è stato fin dall’inizio condizionato dall’elemento naturale che costituisce la più forte e caratterizzante presenza nella località in cui questo spazio è ubicato: il mare.Lungi però dal volersi ricollegare ad esso attraverso triti riferimenti da cartolina turistica, si è cercato d’evocarne la presenza per il tramite di rimandi meno consueti, che consentissero, fra l’altro, di porre l’accento sull’atmosfera di “full immersion” (per traslato nella musica, anziché nelle profondità marine) che è risultata poi essere la caratteristica di quest’ambiente che esercita la più forte attrazione sul pubblico della notte: attraverso pochi elementi fortemente caratterizzanti, che evocano per indirette similitudini il linguaggio della carpenteria navale, si è cercato di dare ai frequentatori di questo luogo la sensazione d’addentrarsi….di scendere nella stiva di una nave o, meglio, nel ventre di un sottomarino che fosse ipoteticamente insabbiato in uno dei magnifici fondali della zona; spunto, questo, suggerito dall’ubicazione ipogea del locale e dalla necessità d’accedervi attraverso una scala piuttosto stretta e ripida.
This project has been, since the beginning, conditioned by the natural element which may be considered the strongest and most characterising presence in the site where this space is located: the sea.
Far from the intention of using any predictable reference to it – of the kind one can see on seasides postcards – an attempt has been made to evoke its presence through less common, yet more suggestive references, which could also help to put the accent on the atmosphere of “full immersion” (in the music, in this case, rather than in the depth of the sea) which later resulted to be, among the features of this place, the one which exerts the strongest attraction on its customers:
through a few elements, evoking the aesthetic language of naval carpentry, it has been tried to give the frequenters of this place the sensation of penetrating into a ship hold or, actually, into the bowels of a submarine hypothetically lied down on one of the magnificent sea floors of this region; this sensation being reinforced by the hypogeal location of the premises and by the necessity to access them through a narrow and steeply stairway.
Here is way have been repeatedly used dark sheets of natural rough steel, fixed to their supports with a sort of bolts which, diligently aligned along the sheets joints, in their close and sparkling sequence, assume a decorative value; here is way have often been used carinate volumes with leaning profiles, to define – for example – the access to the staircase and to wrap the ugly shaped existing supporting columns, and the big porthole, used to lighten and make such “envelopes” look more transparent, as well as to emphasize the naval character of this place.
The same idea inspired the curved dynamic lines of the bar counter, defined by an oxidized brass-sheeting disposed in steps, and the curved wall which, sloping towards the stage platform, defines at its back side a passage (used by performers to move between the stage and their dressing rooms) an,d on its front side, a wide cove apt to take several tables and seats. Next to the floor this wall is doted by a range of low voltage built-in lights which, on the pretext to signal the presence of the wall in the obscurity, are actually meant to create new suggestions.
The stage is again characterized by curved lines and by a parapet of tubular steel with showing weldings and, being visually disconnected from the floor, looks like a floating platform.
The whole floor is made of a simple casting of pre-coloured and smoothened cement. All surrounding walls are sound-proof and covered with asbestosless cement- fibre boards, fixed to an hidden frame with showing bolts. Against such covering, behind the stage, you can see the venue’s logotype, made of three-dimensional letters of oxidized brass.
The easy-chairs, designed by Xavier Pouchard in 1934, are now re-edited by the French manufacturer “Fenetre sur Cour”, while the coffee tables are made-to-measure, according to Pierluigi Piu’s drawings.
At the far bottom of the room, on a two-steps elevation, a double curved wall made of glass blocks encloses the toilets area, defining the access to it in combination with an L shaped metallic partition, while the door leading to the ladies’ toilets is characterized by a natural steel frame and a perforated sheet panel. Inside there is a wide mirror integrated in the wall covering made with small (cm2x2) pale green glass mosaic tiles – produced by Bisazza, italy – intentionally roughly lied down and contrasting with the burnt-brown shade of the floor’s grés tiles. Wash basins have been manufactured by a local craftsman.
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