Nest & Cave House by Idis Turato
The hinterland of the Opatija Riviera in Croatia is specked with manors (fabricated inside of a century and a half). Their upper, front side uncovers only passageways past which we can just envision their openness. Their scale and connection to the straight are completely reliant on the front slant (maybe, it is the strain emerging from the supposition of something concealed what gives the spatial casing of Opatija’s hinterland its allure).
Despite the fact that the Nest and Cave remains typologically and morphologically consistent with the encompassing space in general, it builds up its “shrouded” side through the arguments of mastery over and subordination to the scene. Along these lines, the house and the spot it renders are not organized singularly by the slant onto which they are fabricated (as it is the situation with most manors in Opatija). Rather, it effectively builds the scene and interweaves with it by placing so as to set out the ground level (scene) and on it an upper Object which drifts above as an uprooted level.Therefore, the house comprises of a dug in solid shelter (the resting territory) on which a steel spatial lattice structure is put and which lengthens into a 17 meter long comfort.
In spite of it being developed inside of a reductive registry of capacities, with just two basic components and with its obvious division into the resting and living region, the house makes a wondrous, perpetually moving background and interspaces. This is accomplished by a basic separation of the upper portion in connection to the lower one and by recording it into the profundity of the package. The separated upper part and its hypertrophic comfort express, by exchanging the shadow and the covered up with openness and cordiality, the quintessential pressure of a Mediterranean house: the skirmish of the sun and the shadow.
The Nest and Cave house turns into a reinterpretation of its legacy by accomplishing a full frame through anticipating the Object (the shadow) and opening the void in the body (scene). The console abandons a shadow which (contingent upon the season of day) offers volume to the living range (“the heart of the house”, as the creator calls it) and, by exchanging the crossing point of its tomahawks (as much as the edge of the sun will permit it), it shifts around in this way continually making yet another personal zone of the house.
Through its fenestration confronting far from the street and encompassing structures and via painstakingly confining the scene that enters and directs the profundity or evenness of the inside, the outwardly (and statically) predominant white shape (the aluminum secured steel framework) welcomes the Kvarner Bay inside. Idis Turato, the modeler, facing such a prevailing scene, endeavors to clarify his raison d’être behind it in the expressions of Buckminster Fuller,: “(… ) The fundamental inquiry is how to control the space compassed; and in this manner how to create specific control of compassed space (… )” How to all the while catch broadness, empower closeness, while persistently remaining on the edge before unhampered perspectives?
The Object overwhelms over the scene, while the scene makes the interiority of the item – a persistent trade between the casing and what is being encircled, the House on the Edge. Its strict geometry and sculptural qualities (the draftsman’s control) give a fundamental establishment to a future story (its variations relying upon the perspective). They additionally keep up spatial relations sufficiently precisely to guarantee a probability of an unexpected occasion, (for example, opportunity in linearity of enfilade).
The perspective of the house and the perspective from the house are in a consistent conflict of consideration and prohibition. Underneath somebody’s home and buckle we have the capacity to watch the sculptural relationship between the scene and the house (the other spot).
Then again, when being inside it, we get to be recipients of seeing the subliminal magnificence empowered by the controlled scene outlines painstakingly arranged tomahawks and points effectively isolate the “beginning assets from the last item”.
The control over a spatial edge takes into account an “energetic vulnerabilities of thought”, paying little heed to whether we are the eyewitnesses or the clients and of which story we are telling.