Villa Anelli is a private Inhabitable Work on Lake Garda, shaped around the principles of suspension, circularity and spatial continuity. The architecture is not conceived as a residential volume to be displayed, but as a plastic organism: a composition of interlocking and mutually supporting rings that generate spaces differentiated by light, orientation, protection and perceptual density.

Its relationship with the lake is not scenic, but measured. The water surface becomes a threshold plane between built space and landscape, a surface that separates and connects at the same time. The architecture opens toward the south and, at the point of greatest tension, it is interrupted: the cantilever does not complete the form, but suspends it.

The main body of the building rests on a volume partially embedded in the ground. This base does not present itself to view, but absorbs the weight of the whole, allowing the upper spaces to appear light and continuous. The internal organization is not structured only by function, but by degrees of intimacy, protection, height and relationship with light.

A large double-height central space establishes continuity between interior and exterior. Glazed surfaces slide away and disappear, allowing air, reflections and changing light to enter the inhabited space. The landscape enters the architecture without becoming a mere view to be consumed.

The private dimension unfolds as a protected and inward sequence. The spaces do not seek representation, but balance: controlled views, calibrated voids and terraces conceived as places of permanence and suspension rather than exposure. Openness and shelter are not opposing conditions: together they construct the measure of inhabitation.

Villa Anelli does not present itself as a luxury residence, but as an Inhabitable Work. A Work in which form does not display, but retains; in which inhabitation is neither the consumption of space nor of landscape, but a measured permanence in time, light and relationship with place.

In his 2025 text on the architectural work of Fausto Ferrara, Kenneth Frampton explicitly cites Villa Anelli together with Spazio Sensoriale as an example of the dialogue between construction and nature: an architecture that does not impose itself upon the landscape, but enters into relation with it, restoring a sense of measure to the act of building.