Villa Anelli is built around the principles of suspension, circularity and spatial continuity.
The architecture is not conceived as a living space, but as a plastic organism: a composition of intersecting and supporting rings, generating places that differ in terms of light, orientation, and perceptual density.

The relationship with the lake is not scenographic, but measured.
The body of water becomes a threshold between the built space and the landscape, a surface that simultaneously separates and unites. The architecture opens to the south and, at the point of greatest tension, is interrupted: the overhang does not conclude the form, but suspends it.

The main body of the building rests on a volume partially sunk into the ground.
This base is hidden from view, but it absorbs the weight of the whole, allowing the upper spaces to appear light and continuous. The internal layout is not organized by function, but by levels of intimacy, height, and relationship with light.

A large double-height central space seamlessly connects the interior and exterior.
The glass surfaces slide and disappear, allowing air, reflections, and varying light to enter the living space. The house doesn't close itself off from the landscape, but welcomes it as an integral part of the experience.

The private dimension develops as a silent and intimate sequence.
The spaces do not seek representation, but balance: controlled views, calibrated voids, terraces as places of suspension rather than exposure.

Villa Anelli does not present itself as a luxury residence, but as inhabited architecture.
A work in which form does not exhibit, but retains; in which inhabiting is not the consumption of space, but permanence measured in time and light.