l'ARCA International | Case Study 119

CASO STUDIO CASE STUDYCAS D’ETUDE “Per me l’architettura è un cristallo che incarna la nostalgia per una vita in comunione con il creato” “For me architecture is a crystal embodying nostalgia for life in common with creation”

“Pour moi l’architecture est un cristal qui incarne la nostalgie pour une vie en communion avec la nature” Bruno Taut, Alpine Architecture, 1917

FORME PURE DANS UN ESPACE ABSTRAIT PURE FORM IN ABSTRACT SPACE

FORMA PURA IN SPAZIO ASTRATTO

MARIO BOTTA CAPPELLA GRANATO PENKENJOCH ZILLERTAL, AUSTRIA

Project type: Chapel at 2,087 m sea level Builder: Christa’s Skialm Architecture: Mario Botta Partner: Bernhard Sther-Besto zt Gmbh Statics: Merz Kley Partner ZT GmbH Construction: Rieder GmbH & Co KG Artist: Markus Thurner Client: Joseph Brindlinger, Christa and Georg Kroell-Brindlinger BBS Use: 50 m³ Photos: Enrico Cano

di /par /by

Joseph di Pasquale Pier Alessio Rizzardi

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bbiamo incontrato Mario Botta nel suo studio e SDUODQGR GL TXHVWR SLFFROR HGLÀFLR O¡DUFKLWHWWR KD iniziato il racconto della vicenda professionale ad esso legata.

Ci sembra bello iniziare la descrizione di questo caso studio con il sunto di questo racconto. In fondo ogni HGLÀFLR q XQ UDFFRQWR FKH GLYHQWD PDWHULD H ´QDUUDUH¾ q SUREDELOPHQWH LO YHUER FKH GHVFULYH LQ PRGR SL SURIRQGR LO ODYRUR GHOO¡DUFKLWHWWR (JOL LQL]LD DSSXQWR LO SURFHVVR FUHDWLYR UDFFRQWDQGR LQQDQ]LWXWWR D VH VWHVVR PHQWDOPHQWH QHO WHQWDWLYR GL LQGLYLGXDUH XQ VRJJHWWR XQD WUDPD GD VYLOXSSDUH H XQD YROWD LQGLYLGXDWD XQD WUDFFLD SURVHJXH HODERUDQGR OD ´QDUUD]LRQH¾ LQ PRGR VHPSUH SL GHWWDJOLDWR XVDQGR XQ OLQJXDJJLR FKH VL ID YLD YLD VHPSUH SL SUHFLVR H WHFQLFR H DJJLXQJHQGR DOOH SDUROH L GLVHJQL SULPD DEER]]DWL TXDVL GHJOL VFKHPL PHQWDOL SRL VHPSUH SL SUHFLVL H WHFQLFL VSLQJHQGRVL ÀQR DO UDFFRQWR HVDWWR GHOOH D]LRQL H GHL PDWHULDOL FKH q QHFHVVDULR PHWWHUH LQ DWWR DIÀQFKp OD ´WUDPD QDUUDWLYD¾ VL WUDVIRUPL LQ PDWHULD SLHWUD FHPHQWR OHJQR IHUUR HFF ( FRVu UDFFRQWDQGROD SULPD D VH VWHVVR H SRL DJOL DOWUL O¡DUFKLWHWWR WUDVIRUPD OD VWRULD LQ XQD YLYD DUFKLWHWWXUD MB /D YLFHQGD GL TXHVWD FDSSHOOLQD q DEEDVWDQ]D VLQJRODUH VL WUDWWD GL XQ FOLHQWH SULYDWR XQ DVVLFXUDWRUH che decise di costruire questa cappellina in una sua proprietà in alta montagna.

Circa tre anni fa si rivolse a me e mi espose questo suo progetto e il suo desiderio che fossi io a disegnarla.

Accettai a condizione ovviamente di essere supportato da delle persone sul posto in grado di seguire la costruzione.

Iniziammo a lavorare con degli artigiani che ODYRUDYDQR LO OHJQR PD GRSR XQ FHUWR SHULRGR PL UHVL conto che la squadra non funzionava e che non era possibile andare avanti.

Parlai quindi al committente dicendogli che era meglio IHUPDUH WXWWR SHU HYLWDUH D WXWWL GL VSUHFDUH HQHUJLH tempo e risorse e lui convenne che fosse la cosa migliore da fare.

Dopo due anni però si rifece vivo per comunicarmi che DYHYD PHVVR LQ SLHGL XQD VTXDGUD SL RUJDQL]]DWD H SHU FKLHGHUPL GL ULSUHQGHUH DG DYRFDUH (IIHWWLYDPHQWH DYHYD GLVSRVWR XQ WHDP PROWR SL FRPSHWHQWH H strutturato con a capo un architetto locale che faceva da interfaccia con il mio studio.

Le cose infatti andarono subito meglio e in poco tempo elaborammo il progetto.

La mia percezione nel raggiungere il posto era di XQ¡DVFHVD SURJUHVVLYD GXUDQWH OD TXDOH OR VSD]LR VL IDFHYD VHPSUH SL UDUHIDWWR JdP ,Q TXHVWR VSD]LR UDUHIDWWR LO SULVPD LO YROXPH SXUR HQWUD LQ ULVRQDQ]D PHWDÀVLFD FRQ O¡DPELHQWH 1HOO¡HVWUHPR GHOOH FRQGL]LRQL QDWXUDOL HPHUJRQR H VL formano le geometrie assolute dei cristalli rivelando O¡HVVHQ]D JHRPHWULFD FKH LQIRUPD WXWWR FLz FKH FL circonda.

MB Ho sempre amato i volumi puri e disegando TXHVWD FDSSHOOLQD YROHYR VFRSULUH FRP¡HUD IDWWR XQ YROXPH SXUR GDOO¡LQWHUQR ,QIDWWL HQWUDQGR q SRVVLELOH YHGHUH WXWWH H GRGLFL OH IDFFH GL FXL q FRPSRVWR LO prisma.

JdP /R VSD]LR FDYR O¡LQWHUQR q DOOD EDVH GHOO¡DUFKLWHWWXUD UHOLJLRVD 5LVSHWWR DL WHPSOL

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GHOO¡DQWLFKLWj FODVVLFD GRYH O¡LQWHUQR HUD ULVHUYDWR DL VROL VDFHUGRWL LO OXRJR GL FXOWR FULVWLDQR q LO OXRJR dove si riunisce il popolo. Il rapporto tra esterno e LQWHUQR TXLQGL VL LQYHUWH /¡LQWHUQR GLYHQWD IRQGDWLYR H JHQHUDWLYR GHOO¡DUFKLWHWWXUD H TXDVL HVDXULVFH O¡LQWHUD FRQFH]LRQH DUFKLWHWWRQLFD GHOO¡HGLÀFLR MB 1RQ q VWDWR IDFLOH UHDOL]]DUOR /D VFDUVD accessibilità del sito ci ha obbligato a concepire la UHDOL]]D]LRQH GHOO¡HGLÀFLR SHU SDUWL JLj SURQWH GD ´DVVHPEODUH¾ VXO SRVWR /¡LPSRVVLELOLWj GL UHDOL]]DUH GHOOH ´ÀQLWXUH¾ VXO SRVWR ha comportato la riduzione quasi a zero delle tolleranze della realizzazione dei componenti i quali una volta assemblati dovevano avere un grado di completamento HTXLYDOHQWH DO ´ÀQLWR¾ Un elemento di forte criticità che ha condizionato la progettazione tecnologica di questa piccola architettura q VWDWR OD IRUWH LQWHQVLWj GHL YHQWL D TXHVW¡DOWLWXGLQH

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Disegnando questa cappellina volevo scoprire com’era fatto un volume puro dall’interno.

En dessinant cette petite chapelle je voulais découvrir comment un volume pur était fait de l’intérieur.

Designing this small chapel I wanted to discover how a pure structure was composed from the inside.

Un elemento che ha condizionato la progettazione tecnologica è stato l’intensità dei venti a 200 km l’ora

La forte intensité des vents qui soufflent à une vitesses d’environ 200 km à l’heure nous a obligés à définir dans les détails les aspects technologiques.

A factor that influenced the technological design was the strength of the winds blowing at 200 km an hour.

q REEOLJDWR R D FXL QRQ VL SXz aggrappare in mancanza di altro i pensieri che potrebbero passare per la mente sono contrastanti. Da un lato la mancanza di basi canoniche che si q REEOLJDWL D WHQHUH LQ FRQVLGHUD]LRQH SRWUHEEHUR LQWLPLGLUH 'DOO¡DOWUR ODWR VL SXz DVVDSRUDUH O¡HXIRULD GHOOD possibilità creativa di realizzare un segno sul territorio. Creare dal nulla XQ¡DUFKLWHWWXUD La domanda che attraversa ogni SURJHWWLVWD VLD QHOO¡XQR R QHOO¡DOWUR FDVR q FRPH VL SXz LQL]LDUH" Botta risponde alla domanda con una ricerca personale. Lui risolve la TXHVWLRQH VFDYDQGR QHOOD VXD PHPRULD e prendendo in considerazione le sue HODERUD]LRQL FUHDWLYH JHRPHWULFKH FKH O¡KDQQR DFFRPSDJQDWR SHU WXWWD OD VXD carriera.

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(IIHFWLYHPHQW LO GLVSRVDLW G¡XQ WHDP SOXV FRPSpWHQW HW VWUXFWXUp DYHF XQ DUFKLWHFWH ORFDO TXL VHUYDLW G¡LQWHUIDFH DYHF PRQ DJHQFH /HV FKRVHV DOOqUHQW G¡DLOOHXUV WRXW GH VXLWH PLHX[ HW QRXV pODERUkPHV le projet en peu de temps. Ma perception HQ UHMRLJQDQW OH OLHX pWDLW G¡XQH SHQWH SURJUHVVLYH GXUDQW ODTXHOOH O¡HVSDFH VH IDLVDLW WRXMRXUV SOXV LPPDWpULHO JdP 'DQV FHW HVSDFH LPPDWpULHO OH SULVPH OH YROXPH SXU HQWUH HQ UpVRQDQFH PpWDSK\VLTXH DYHF O¡HQYLURQQHPHQW 'DQV GHV FRQGLWLRQV QDWXUHOOHV H[WUrPHV pPHUJHQW HW VH IRUPHQW OHV JpRPpWULHV DEVROXHV GHV FULVWDX[ HQ UpYpODQW O¡HVVHQFH JpRPpWULTXH TXL LQIRUPH WRXW ce qui nous entoure.

MB -¡DL WRXMRXUV DLPp OHV YROXPHV SXUV et en dessinant cette petite chapelle je YRXODLV GpFRXYULU FRPPHQW XQ YROXPH pur pWDLW IDLW GH O¡LQWpULHXU '¡DLOOHXUV HQ HQWUDQW LO HVW SRVVLEOH GH YRLU OHV GRX]H faces qui composent le prisme.

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30 l’AI 119

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La mia percezione nel raggiungere il posto era di un’ascesa progressiva durante la quale lo spazio si faceva sempre più rarefatto Ma perception en rejoignant le site était d’une pente progressive durant laquelle l’espace se faisait toujours plus immatériel The impression I got as I reached the location was of a gradual incline as the space became increasingly rarefied

La scarsa accessibilità ha obbligato a concepire l’edificio per parti già pronte da “assemblare” sul posto “L’accessibilité limitée du site nous a obligés à concevoir la réalisation du bâtiment en parties préconstruites à assembler directement sur le chantier.

The fact that it was hard to get to forced us to design the building in pre-constructed parts to be assembled on site

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PR ,W¡V LQWHUHVWLQJ WR ORRN DW WKH SODFH ZKHUH WKLV ZRUN RI DUFKLWHFWXUH LV EXLOW ,W LV QRW VHW LQVLGH DQ\ ZHOO HVWDEOLVKHG XUEDQ IDEULF RU DUHDV XQGHUJRLQJ WUDQVIRUPDWLRQ ,W LV DFWXDOO\ PLOHV DZD\ IURP everything and everybody. The architecture appears out RI ´DUFKLWHFWXUDO QRWKLQJQHVVÂľ HPHUJLQJ IURP QDWXUH D ORQJ ZD\ IURP DQ\ LQKDELWHG DUHD RU EXLOGLQJV <RX GR not very often get the chance to see Western architects LQWHUYHQLQJ GLUHFWO\ RQ QDWXUH OD\LQJ WKH Ă&#x20AC;UVW RU RQO\ stone and changing the landscape through an indelible sign. &RQWUDVWLQJ WKRXJKWV JR WKURXJK \RXU PLQG ZKHQ there is no built fabric to conform to or nothing else to JUDVS RQWR 2Q RQH KDQG WKH ODFN RI DQ\ FRQYHQWLRQDO EDVHV WR EH WDNHQ LQWR DFFRXQW FDQ EH LQWLPLGDWLQJ on the other there is the euphoric prospect of having the creative possibility of leaving a trace on the land. &UHDWLQJ D ZRUN RI DUFKLWHFWXUH RXW RI QRWKLQJ 7KH TXHVWLRQ WKDW HYHU\ DUFKLWHFW DVNV WKHPVHOYHV LQ HLWKHU FDVH LV KRZ WR EHJLQ

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He refuses to bend to traditional mountain forms and ZLOO QRW ´UHJLRQDOLVH¾ KLV DUFKLWHFWXUH E\ XVLQJ ORFDO PDWHULDOV DQG WHFKQRORJ\ 2Q WKH FRQWUDU\ KH UHDOLVHV WKH SRVVLELOLWLHV RIIHUHG E\ WKH ´QRQ FRQWH[W¾ RI WKH project area.

The chapel is the result of an incredible creative effort to produce an element capable of generating/ WUDQVIRUPLQJ WKH ODQGVFDSH FRQWDPLQDWLQJ LW WKURXJK DQ H[WUDQHRXV IRUP WKDW LV DFWXDOO\ MXVW D ZD\ IRU WKH ODQGVFDSH WR DVVHUW LWV RZQ SUHVHQFH 6RPHWLPHV D SRZHUIXO SXUH JHVWXUH H[WUDQHRXV WR WKH SODFH LQ ZKLFK LW LV EXLOW KDV WKH SRZHU WR OHDYH LWV PDUN RQ LWV ORFDWLRQ IRUHYHU DFWXDOO\ WUDQVIRUPLQJ WKH VXUURXQGLQJ VSDFH LQWR VRPHWKLQJ LPSRUWDQW XQH[SHFWHG DQG XQLTXH

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