BIANCHI HOUSE

BIANCHI HOUSE MARIO BOTTA

BIANCHI HOUSE MARIO BOTTA TICINO, RIVA SAN VITALE, SWITZERLAND 1971-73

ARCH1080 Mary Joyce Centino z5162247 David Ostinga

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CONTENTS

DESCRIPTIVE TEXT

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SKETCHUP MODEL

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ANIMATION

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REFERENCE LIST

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MARIO BOTTA BIANCHI HOUSE

Mario Botta’s Bianchi House is situated in Riva San Vitale in the mountainous Ticino Canton, Switzerland. Isolated from the city’s centre and located between Mt. San Giorgio, Lake Lugano and Mt. Generoso, the modernist building, through the Mario Botta’s application of various design elements, essentially responds to its environment.

Botta sought to create a spacious family residence for a couple he had known since he was a student without immensely changing the natural environment. Hence, Botta took inspiration from the trtaditional upright design of old bird catching towers, ‘roccolo’, which once were frequent in the Ticino region. The building’s spaces are vertically organised into 3

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five floors: an entrance level, a level for master bedroom, children’s bedroom and family space (dining and living) and a basement. This ‘tower’ like structure not only has minimal spatial impact to the environment, but also invites its clients to experience and admire the several layers of the environment.

The Bianchi House stands at the edge of Mt. San Giorgio, on land that descends down towards Lake Lugano. As it sits in such a steep elevation, the road is not accessible at the ground floor. Instead, the road is in level with the roof level. Hence, entry to the house is via an 18m red iron bridge, which breaks through.

Light and long in appearance, it both links and detaches the concrete block tower from its

surroundings, setting apart the artificial building from the environment. From the roof level, the configuration of the house progresses downwards, with a spiral staircase placed in the centre which fundamentally links the different levels, and the different experiences with the environment as mentioned.

2. Sketch of Bianchi House in its context.

3. Bianchi House and Lake Lugano.

4. Entrance bridge linking the house to its surrounding landscape.

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TERRACES

The house contains terraces and both open and closed spaces functioning as a link between the interior spaces and alpine landscape. The terraces, located in the entrance level, the third and first floor, are constructed within the building’s block form, as deep openings within the building, rather than platforms attached to the building. Such openings are situated at the south and east side of the building revealing the expansive view of Lake Lugano and Mt. Generoso. The optical and spatial interaction between interior and exterior is also highlighted in the varying heights between ceiling and floor.

The living room in level three has a window three storeys high, which similarly to the terraces, overlooks Lake Lugano in the east.

By isolating the building from the city centre, intentionally positioning the large windows and open spaces at the building’s south and east, Botta showed an appreciation for nature, and invited others to do so.

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5. View of terrace from the living room. Natural light is able to penetrate and travel through all the floors due to the floor-to-ceiling- windows, facilitating spatial continuity between interior and exterior spaces.

6. Terraces are carved in the tower, as deep openings within the building. Photograph of the ceiling from the terrace on the third level.

7. View of Lake Lugano and Mount Generoso from terrace situated on the second floor.

8. Fluid transition of internal spaces due to the different ceiling heights. Public living spaces (dining, kitchen, living room and terraces) have a ceiling height of two or more floors.

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9. Red bridge particularly stands out amongst the green trees and against the blue sky and water.

10. Southeast facade.

The rigid shape of the openings essentially frames the views.

AN EXAMPLE OF MODERN ARCHITECTURE Botta approached the architectural design in a modernist manner, strictly adhering to an emphasis of minimal, yet robust geometry, and placing such forms in the landscape. With the building’s rigid square shape which juxtaposes the various natural and fluid shapes of the natural environment and the placement of the tall building on a slope, the Bianchi House stands erect and monumental. At the same time, by placing such precise geometric forms within the environment, the abstract forms enhance nature.

The double-layered cement blocks which makes the exterior walls, also contributes to the building’s distinctiveness as an artificial and manmade object, amongst the natural environment. Additionally, the use of heavy material is consistent in the building, with untreated concrete ceilings, black steel-framed windows and red bricks that covers all internal floors. In this way, whilst the building interacts with the environment, Botta still aimed to create a home which stood out as a piece of modern architecture.

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11. 12. Preliminary Sketches.

13. Detail of house’s construction. Pipes are located at the bottom corners of the building’s openings.

14. Kitchen and dining room. Like in image eight, this photograph also features the integration of internal spaces through varying ceiling heights.

15. Yellow spiral staircase. Squares and strict geoemtric shapes is prevalent within the interior spaces as well.

16. View of terrace from Kitchen.

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SKETCHUP MODEL

Rendered with LUMION

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1. Siting Immediate scale.

2. View of entrance bridge from nearest road

3. View of entrance bridge from terrace Terrace appears to break through the outer wall and within the building’s block form.

4. Inside the entrance bridge Walking on the bridge provides the surreal and unique experience of floating above the natural environment. Upon entering, Botta’s concept of experiencing nature is prevalent.

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5. Children’s bedroom Second floor.

6. Stairs Yellow spiral stairs.

Primary circulation through all the floors.

7. View of living areas from third floor terrace Floor-to-ceiling windows are placed next to the living spaces, providing the rooms plenty of natural light and views of the moiuntainous Ticino region. Spaces seem transparent.

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8. Plan of Level 2 Children’s bedroom.

Third floor’s terrace and living are also visible, and appear to have multiple storey height ceilings.

9. Section A-A The varying ceiling heights seen in the plan is much more visible in the section.

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ANIMATION ANALYSIS ARRANGEMENT OF SECTION

Architect: Mario Botta Built: 1971-73 in Riva San Vitale, Switzerland Student: Mary Joyce Centino Student Number: z5162247 Tutor: David Ostinga Music: ‘Night Ride’ by Eddie Rohosy

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REFERENCE LIST

DESCRIPTIVE TEXT

IMAGES

1. Alexander Tzonis and Liane Lefaivre, Architecture In Europe Since 1968: Memory and Invention (New York: Thames and Hudson), 1992, 64-67.

1. Mario Botta, Mario Botta: The Complete Works (Zürich: Artemis Verlags, 1993), 34

2. Dominic Bradbury, The Iconic House: Architectural Masterworks Since 1900 (New York: Thames and Hudson, 2009), 210-213.

2. “Einfamilienhäuser, dem Kubus eingeschriebena,” Bauen und Wohnen 29 (1975): 82.

3. Botta, Mario Botta: The Complete Works, 30.

3. “Einfamilienhäuser, dem Kubus eingeschriebena,” Bauen und Wohnen 29 (1975): 86-88.

4. Dominic Bradbury, The Iconic House: Architectural Masterworks Since 1900 (New York: Thames and Hudson, 2009), 211.

4. Francesco Dal Co, Mario Botta: The Patience of Things, (London: Electa/The Architectural Press), 1987, 7-46.

5. Botta, Mario Botta: The Complete Works, 123.

5. Jennifer Lucchino, “Revealing the Intangible” (Masters Thesis, Rice University, 1994), ProQuest (230850804), 12-14.

6. Francesco Dal Co, Mario Botta: Architecture 1960-1985, (London: Electa/The Architectural Press, 1987), 35.

7. Ibid., 35.

14. Dominic, The Iconic House: Architectural Masterworks Since 1900, 213.

15. Ibid., 213.

16. Ibid., 213.

SKETCHUP MODEL

Model created through SketchUp and rendered through LUMION. Furniture retrieved from 3D Warehouse https://3dwarehouse.sketchup.com

ANALYSIS ANIMATION

1. Alexander Tzonis and Liane Lefaivre, Architecture In Europe Since 1968: Memory and Invention (New York: Thames and Hudson), 1992, 64-67.

7. Mario Botta, “Single-Family House, Riva San Vitale, Ticino (1971-1973),” in Mario Botta: The Complete Works, ed. Emilio Pizzi, (Zürich: Artemis Verlags, 1993), 30-35.

9. Botta, Mario Botta: The Complete Works, 34.

2. Mario Botta, “Single-Family House, Riva San Vitale, Ticino (1971-1973),” in Mario Botta: The Complete Works, ed. Emilio Pizzi, (Zürich: Artemis Verlags, 1993), 30-35.

10. “Einfamilienhäuser, dem Kubus eingeschriebena,” 87.

DESIGN TEMPLATE

8. Mercedes Daguerre and Riccardo Blumer, “Catalogue of Works”, in Mario Botta: Architecture 1960-1985, ed. Francesco Dal Co, (London: Electa/The Architectural Press), 1987, 95-268.

11. Mercedes Daguerre and Riccardo Blumer, “Catalogue of Works”, in Mario Botta: Architecture 1960-1985, ed. Francesco Dal Co, (London: Electa/The Architectural Press), 1987, 122.

9. Mihai Adam, “Interpretative Center at Elora Quarry” (Masters Thesis, Dalhousie University, 2007), ProQuest (304793044), 3.

12. Ibid., 122.

6. Joseph Rykwert, “Imparare Dalla Strada,” Lotus International 11 (1976): 168-171.

10. “Ticino Tower,” Architectural Review 158 (1975): 60-61.

8. Ibid., 35.

13. Alexander Tzonis and Liane Lefaivre, Architecture In Europe Since 1968: Memory and Invention (New York: Thames and Hudson), 1992, 66.

Botta, Mario. Mario Botta: The Complete Works. Edited by Emilio Pizzi. Zürich: Artemis Verlags, 1993.

APPENDIX OF READINGS

1. Alexander Tzonis and Liane Lefaivre, Architecture In Europe Since 1968: Memory and Invention (New York: Thames and Hudson), 1992, 64-67.

2. Dominic Bradbury, The Iconic House: Architectural Masterworks Since 1900 (New York: Thames and Hudson, 2009), 210-213.