架构师提供的文本描述。融合在绿色深处的里维埃拉德尔布伦塔，点缀着壮观的威尼斯贵族别墅，这幅杰作是由谢尔瓦在十九世纪的第二个十年设计的。

Text description provided by the architects. Merged in the green depths of the Riviera del Brenta, dotted by spectacular Venetian patrician  villas this masterpiece was designed by Giannantonio Selva in the second decade of the nineteenth century.

 Ground Floor Plan

与这个故事的比较源于一个游客众多的地区，这是但丁在“神曲”中提到的天才轨迹，它启发了拜伦勋爵在附近的米拉或加布里埃尔·德安农齐奥，他引用了“火”中的泻湖，后来被伟大的头脑所感知和欣赏：而不是偶然的伽利略·加利利，卡洛·戈多尼和卡萨诺娃喜欢呆在这些地方。关于这个“故事”，塞尔瓦肯定是被教导的。塞尔瓦在罗马、伦敦和巴黎之间旅行时，培养了一种口味，演变成了新帕拉迪安式的新古典风格-形状和装饰之间的节奏感平衡。

The comparison with the story has its roots in an area rich in attendance and visitors, the genius loci, which is mentioned by Dante in the Divine Comedy, which inspired Lord Byron when staying in the nearby Mira or Gabriele D'Annunzio who cites the lagoon in "The Fire" was perceived and appreciated over time by great minds: not by  chance Galileo Galilei, Carlo Goldoni and Casanova loved to stay in these places. Of this "story" was surely instructed Selva who in his travels between Rome, London and Paris had cultivated a taste evolved into a neo-palladian neo-classical rhythmic balance of

多里克秩序的合成和重新加工，标点符号的强大的立面，分为七个圆形拱门对称的中心巴拉迪亚门户，完成了光滑的威尼斯灰泥和奖章，装饰壁画和伊波西拉尼，并超过了一个大的山墙。

The Doric order synthesized and reworked punctuates the mighty façade divided by seven round arches symmetrical to the central palladian portal finished in smooth venetian plaster  and medallions decorated by frescos and ippocrani and surmounted by a large pediment.

 © Juergen Eheim

朱尔根·埃海姆

事实上，作为别墅的一座马厩，巴切萨家养着赛马，这些马也被画在立面上的马术画盒里。因为覆盖整栋建筑的建筑结构，塞尔瓦重复了他的一项伟大工程-威尼斯的蒂特罗·拉·芬尼斯(Teatro La Feice)-的木桁架结构体系。想象一下十八世纪末一个雾蒙蒙的黎明的景象。“老鼠”和“Peate”在通道上卸下石头块和雕像，建筑师Giannantonio Selva和它的画卷和卡帕控制着消失的Gritti Marchini别墅的赞助人，他徘徊在他的敞篷车的边缘准备再次离开威尼斯。

The Barchessa infact as a stable of the villa housed breed race horses that are also painted in the boxes of equestrian paintings on the facade. For structures covering the entire building Selva had repeated the same structural system of wooden trusses of one of his great project: the Teatro La Fenice in Venice. Imagine the scene in the late eighteenth century in a misty morning at dawn, "mice" and "peate" on channel discharging stone blocks and statues, the architect Giannantonio Selva with its rolls of drawings and cartouches controls the vanishing and the patron of Villa Gritti Marchini who wanders around at the edge of his gondola ready to leave aga

 © Juergen Eheim

朱尔根·埃海姆

222年后，在春天的黄昏时分，建筑师西蒙妮·米其利(Simone Micheli)把他的白色SUV停在公园里，他的ipad在半黑暗的barchessa周围徘徊，决定新的照明场景，而参与修复的工人们则在院子里的四尊寓言雕像的注视下，穿过巨大的铁门，见证了新的辉煌。

222 years later in a spring twilight the architect Simone Micheli, parked his white SUV in the park with his Ipad hovers around the same prospects of the semi-dark Barchessa to decide the new lighting scenes while the workers involved in the restoration cross the mighty gates in wrought iron under the gaze of the four allegorical statues witnesses of the renewed splendor after a day in the yard.

 © Juergen Eheim

朱尔根·埃海姆

定向照明开启了建筑师西蒙妮·米其利(Simone Micheli)为RUBENSLUCIANO的新办公室和陈列室设计的前照灯，与上一代人通过新形式和新材料恢复和增强的旧记忆相比较。坦率和透明-高清晰度-让你能够阅读古代的存在：垂直连接，水晶护栏和完全上釉的电梯是一种新的数字建筑的元素，液体和光，与石材和拱形天花板的细节相形见绌，令人赞叹不已。因此，我们有可能给石头铺上几何菱形图案的地板，淹没在雪白的威尼斯浆糊中，在那里铺着薄薄的白色高跷，支撑空气动力栏杆的阁楼-从一个磁带水晶曲线。垂直角度弯曲的侧景过滤器流和各种功能之间的均匀速度之间。台面和白漆橱柜的模块。一楼是创意部门的办公场所，空间序列由纯形状的阿波罗龙主导，白色三聚氰胺高科技工装在一个结构上，上面是涂有漆的铝和轮子上的符合人体工程学的椅子。在中心部分，大的接收，背景的合成线，一些间隔白色的角度弯曲，带有滑动门，识别区域办公室和图形打印机与第一个办公室截然相反，开发了陈列室的“材料，三大参展商所强调的“鞋与搜索”重合环与此相抗衡，将所有模型鞋及岛上部分地方的工作台面均采用白色三聚氰胺层压板结构，在一种高科技白漆铝上展出产品。

Directed lighting turns on the headlights of an exciting interior design by architect Simone Micheli for new offices and showroom of RUBENSLUCIANO compared with the old memories that have been restored and enhanced through the new forms and materials of last generation. Candor and transparency - in high definition- allow you to read the ancient presences: the vertical connections, the crystal parapets and the lift fully glazed are the elements of a new digital architecture, liquid and light in contrast to the materiality of the details of the stone and vaulted ceilings and lacunar always visible and admired.  So it was possible to give the light to the stone-paved flooring with geometric diamond pattern drown in a snowy venetian pastellone where are laid the thin white stilts supporting aerodynamic balustraded mezzanine floors - on all sides - from a tape crystal is modeled profiles curvilinear. Vertical angle curved side scenes filter flows and the various functions located at an even pace between the modules of counter tops and white lacquered cabinets. The ground floor houses the creative division offices in open space sequences dominated by apollonion rigor of pure shapes with white melamine hitech worktops on a structure in painted aluminum and ergonomic chairs on wheels. In the central part, the large reception, background of synthesized lines, some septa white angled curved, with sliding doors, identify the area offices and graphics printers as diametrically opposed to the first office develops the showroom "materials, shoes and search "emphasized by the three major exhibitors overlapping ring countered where they are exposed all models shoe and some places on island with worktop in white melamine laminate structure on a hitech white painted aluminum for the exhibiti

 © Juergen Eheim

朱尔根·埃海姆

在两个相反的两端，两个拱形的埃埃德拉斯(Exedras)用珍贵的壁画装饰着一个围封的天花板，到达了行政办公室，代表的房间和地板ʼ的服务-大白瓷水槽-坐落在一个亮黑色的L形架子上，平衡了一个功能强大的不锈钢铬管内的自动烘干机系统。

At two opposite ends through the two vaulted exedras embellished by precious frescoes perspective of a coffered ceiling is reached the administration office, the room of representatives and the floorʼs services with large white porcelain sink resting on a L shaped shelf in glossy black that balances the system of automated hand dryer popped inside a powerful stainless steel chrome tube.

 © Juergen Eheim

朱尔根·埃海姆

楼梯和带白色油漆的钢和玻璃的电梯可以进入一楼高跷上的轻巧的夹层楼层，其中四个主要区域都是作为创意部门的许多开放空间办公室，下面楼层的家具的逻辑和布局都是一样的。一种轻微的悬挂，包裹在光云中，透过新月正面的大拱形窗户，在漂白橡木地板上反射，纵向地增加了无限透视感，进一步减轻了空间知觉。一些石膏板上的假天花板与梅萨纳设计的流线型线条相同，在阁楼上略有下降，允许可调的凹槽。聚光灯能及时照亮一楼的所有工作区域和一般分布通道。在墙壁和滑动门的包围下，有创意区和服务层，更衣室里放着大白瓷盆，架子上放着L形光泽黑漆，平衡着自动烘干机的系统，自动烘干机系统插进了强大的不锈钢管。从天花板上下来的铬。

The staircase and the elevator in white painted steel and glass give access to lightweight mezzanine floors on stilts on the first floor where in four main areas are all open space offices identified as many of the creative division, with the same logic and distribution of furniture of the floor below, a slight suspension wrapped in a cloud of light that filters through the large arched windows on the fronts of the crescents and is reflected in the bleached oak parquet running longitudinally increases the sense of infinite perspective lightens further spatial perception. Some plasterboard false ceilings modeled in their geometric run the same flowing lines designed by the mezzanines and slight lowering in their lofts allow adjustable recessed spotlights to illuminate in a timely manner all work areas and general distribution pathways on the ground floor. Bounded by walls and sliding doors lies the creative area and services floor with dressing room with large white porcelain basin resting on shelf L shaped gloss black lacquered that balances the system of automatic hand dryer popped into a mighty stainless steel tube, chrome that descends from the ceiling. 

在二楼，有橡木地板衬里的大门厅欢迎游客来到一个迷人的地方，那里有巨大的木结构和桁架，其巨大的重要性增强了可调LED灯的巨大重要性。旧的原始桁架是经过仔细修复和翻新的主题，这一伟大的巩固工作的结果使观众进入了世界。大的结构综合体，如大教堂或剧院，谢尔瓦在设计谷仓时就想到了这些。

On the second floor the large foyer lined with oak parquet welcomes visitors on a fascinating place under the large wooden structures with trusses that are enhanced in their mighty materiality of a careful game of adjustable led light. The old original trusses have been the subject of a careful restoration and renovation and the result of this great work of consolidation brings the viewer into the world of large structural complexes such as the cathedrals or theaters which the Giannantonio Selva had in mind when he designed the barn.

 © Juergen Eheim

朱尔根·埃海姆

在空旷空间内，广场上铺满漂白橡木，宽敞的空间，可移动的光滑漆，为工作人员和外部顾客提供一个小厨房，两张白色金属结构的大桌子被白色塑料滑雪板和贝壳包围着14次，屋顶结构的抗压强度和抗拉强度在地面上与大型工业同步。搁置与滑动手柄盘斜面白色的“宇宙”的皮革样品和材料。

In open space square blocks covered in bleached oak with generous spaces undermount removable glossy lacquered generate a little kitchen available to staff and external customers with the two large tables with white painted metal structure surrounded by fluid fourteen sessions with sled and shell in white plastic. The constant movement of compressive and tensile strength of the roof structure are synchronized on the ground with large industrial shelving with sliding handle disc beveled white for the "cosmic" of the leather samples and materi

 © Juergen Eheim

朱尔根·埃海姆

在空间体积、批量扫描和主要形式中，耸立着EPS光滑的白色树脂墙：一个弯弯曲曲的触须，环绕在展示厅周围，在展厅后露出曲线和菊苣，里面有内置的壁龛，两边的边缘都是圆形的，嘴唇伸长成薄薄的嘴唇，从凹槽可调的小聚光灯的连接处反射出来。在一个偏心的位置上，有一个小聚光灯。进入这一区域的地方是一张大的会议桌，中间有圆形弦梁锥形结构，并配有七把旋转扶手椅。木料是被选中的主角，用来描述和区分会议室与黎巴嫩一棵雪松树干制成的雄伟的桌子，它的树皮-几乎没有碰过-仍然清晰可见，你可以感觉到。它散发着树脂涂层的芳香，躺在镜子的底座上，配备了15个座位，映照在镜子里，镜框里装着60英寸的等离子电视。鲁本斯·卢西亚诺办公室里的气氛更亲密、更轻松。墙上的裸体艺术画廊，黑色的，是想象中的窗户，这些人的身体都在等待着在未来的设计中穿衣。这张桌子站在地板上，上面是白色的热成型的顶部，木质的单板正面是两把黑色的椅子，在整个项目中都有其独特的颜色，而在大的两个座位沙发前，两个烟台在一个橱窗展示盒，玻璃顶部和一个木制托盘，以支持两个时刻的漫长和迷人的创作过程，结晶在记忆中完成的工作和活力的能源原型。

In sterometric volume batch scanning and primary forms stand eps glossy white resin walls: a sinuous tentacle that wraps around and reveals curves and chicanes after the showroom with built- in niches carved into the matter with rounded edges on all sides that stretch as thin lips to be reverberated from the joints of the recessed adjustable led mini spotlights. In an eccentric position with regard to access to this area is the large meeting table with circular string beam tapered structure in the center and accompanied by seven swivel armchairs. The wood is the protagonist chosen to characterize and distinguish the meeting room with the majestic table made from the trunk of a cedar of Lebanon of which the bark - barely touched - is still visible and that you can feel all its aroma of resin-coated resting on mirror plinths and equipped with fifteen seats that are reflected in the mirror where is framed a 60"plasma tv. More intimate and relaxed mood in the office of Rubens Luciano: wall art gallery of nude framed in black are imaginary windows on the bodies waiting to be dressed in future projects of this mind, the desk stands on the floor with white thermoformed top and wood veneer fronts, the two black chairs, with their unique color throughout the project, while in front of the large two-seats sofa two smoke tables are declined in a shop window display box with glass top and a wooden tray to support the two moments of a long and fascinating creative process that have crystallized in the memory of the finished work and the vibrant energy of the prototype.