Next skip sea and the horizon. I thought to a system of movable stone plates that open, half-close or completely shut down as eyelids, in several graduations that regulate the illumination and guide the look of the people living the rooms inside. Surely there will be a less spectacular, less theatrical light, but it still remains one of the fundamental themes of the project. Why do you employ this material so frequently? Alberto Campo Beaza: As a 3rd millennium architect, I defend the role of stone as material of the contemporary age.
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Lucca, 15 gennaio Un antiquarium e un allestimento in marmo di Carrara. Negli architetti che pensano. In quelli che hanno idee e che sono capaci di costruirle. Only stone, then, is destined to resist the flowing of cavities, created not to weaken the mass, eroding and voiding time and becomes an unavoidable choice to be developed with it, but to enforce its image of stability, making the solid sections continuity in the manufacturing of stereotomic masses and tec- and the deep thicknesses immediately sensible.
Even indicated by thick and continuous delimitation walls, defined by before giving shape to the concepts of gravity and lightness in the large texture of floors and walls once again made of stone. This happens very frequently in interior spaces, whe- of compact and pure stone solids. The building is made of two re smooth and homogenous stone floors constitute the rooting L-shaped volumes, rotated and juxtaposed in order to define a base surfaces for candid walls immersed in the light; evidences central courtyard: the first building has two existent historical fa- of this projecting habit are the Drago School in Cadiz , cades in which the elements are completely elaborated in stone; and the houses of Gaspar , De Blas , Asencio Pascual the second one is homogenously covered in stone and stands , Olnick Spanu , and Guerrero The library, built exclusively through the com- the edification of three-dimensional constructions: illustrative in position of stone solids and cavities, asserts with perspicuity the this case are the square of the Almeria cathedral and substantial stereotomic gravity emphasised by the contrast with the Entre Catedrales square in Cadiz In the first case the airy presence of a transparent tectonic platform that covers a large texture of cubic components made of Macael marble, a the courtyard and is sustained by thin metallic columns.
The stone podium comprehends open space. In Cadiz, instead, the same stone-flagged pavement a thick and closed wall that stands on its peak underlining the made of marble and characterized by a squared texture is em- entire perimeter.
On the footing a large wall-delimited agora ployed to create a podium set between two ancient religious is created, a hortus conclusus open to the sky and defined by a buildings; the elevated surface, accessible by a long lateral ramp, homogenous covering of big plates in Roman travertine on the protects some archaeological excavations and at the same time flooring and on the wall coverings.
Inside the courtyard, the tec- is configured as a belvedere oriented to the sea. The syntax of Al- follows the line of the construction delimitating a secret garden; Tectonic surfaces code but revealed only through the filtering luminous energy.
The building is configured as an elementary volume to- tations of solid masses, void spaces and visual limits is reasser- openings are cut to allow the interior view on the monuments. In this work, the stone material compounds a theme of the hortus conclusus - already developed at the Inno- is surrounded by a double glass covering, equipped with exten- separate the spaces and, at the same time, to allow various vi- subtle and changing functional box, constituted by fixed parts vation Technology Centre in Incas as well as in other private resi- sible textile screens and able to actively regulate the heat flux sual interactions.
The tectonic surfaces single or in a sequence and schemes of movable plates put together to give life to a sha- dences - finds another vivid expression, made even more vibrant according to the seasonal time; in this way, both in winter and of trihedrons or closed volumes, can be superimposed to the dowing system. Baeza, in fact, designed pairs of 90x90m squa- by the location into a dense and highly historical urban context. In order to create this light and airy surfaces, Campo Baeza slide or rotate on metal props getting different orientations; as being built in the centre of the city, very near the cathedral and interact with it in an osmotic relationship that becomes total in once again employs the stone material together with glass and eyelids, they can be totally opened, half-closed or hermetically the Romanic church of Santa Maria La Nueva.
A high wall, built the fruition of the exterior garden and of the belvedere terrace metal : the stone is fractioned and re-united in schemes thought juxtaposed to regulate the natural luminous rays and to guide with the same local stone the historical buildings were made of, collocated on the covering. The hall space receives its main directional light from large lou- vers and is enriched with another luminous source: three of the walls of the big room are constituted by alabaster screens set on structures in steel and aluminium; the alabaster expresses its translucent qualities being passed through the external light and giving back to the interior room a widespread and homoge- nous luminous flux.
Alberto Campo Baeza exploits in this case the properties of some stone materials as alabaster, onyx or crystalline marbles that, cut in subtle sections, catch the light and let it irradiate into their inner mineral structure, revealing previously hidden colours and images and activating a dense and tangible luminous atmosphe- re. In the asset of total closure the tectonic box get the aspect of a stereotomic solid; in the configuration of intermediate or total openness it denies, more or less decidedly, the archetypical inertia of the stone.
The building, being realised at the mo- ment, is located in the centre of the Russian city and occupies the space of an old building now pulled down.
The structural grid of the building in reinforced concrete remains exposed with its net and simple perpendicularity materialised by the light grey tone of the cement; the first two commercial floors are protected by continuous and totally transparent glass surfaces, while the last three floors destined to the offices are screened by large plates in Carrara marble of vertical format, put together to fill in the structural grid. Pro- getti e costruzioni, Milano, Electa, , pp.
Each step in his career as a projecting designer shows, analyses and declares, like in a motto, the visions and models, often archetypical, that are the bases of his activity: light and gravity, hortus conclusus, contemplation of the sea, impluvium of light.
The interior space of the structure appeared to the visitors as a void space for stopping-by and meditating, completely dominated by pe- numbra and signed by the slow passage of luminous rays on the natural surface of the stone. The setting showed in its outside the design elements by PIBA Marmi, disposed as in a wall gallery, like finds of an antiquity collection, and accompanied by histo- rical reproductions of classic sculptures lent for the occasion by Florence Accademia delle Belle Arti.
Yet facing a project characterized by a transient nature as an exhibition pavilion, with La Idea Construida Alberto Campo Baeza once again gave us a deep reflection about the timeless values of thinking and realizing architecture.
In contrast to the 78 79 Gravity and Space, Light and Time An antiquarium for the contemporary design elements composing it but also for the visionary and poetical in- Gravity builds Space, Light builds Time, gives reason to Time. If museums have a closed and controlled physical dimension, tensity of the ensemble. The future of Architecture indoor or outdoor — can have an open structure configured more tiquarium as a powerful instrument of visible communication will depend on the new possible comprehension of these two as an aesthetical event than as a syntactical narration.
Teoria estetica e meto- follow the dispositions they had had in the original buildings dologia didattica, Firenze, Alinea, , pp.
Alberto Campo Baeza After some first drawings made in my studio, the artisan pro- posed a way to improve the project and then we made further A drilled and movable stone wrapping corrections. The most delicate problems to be solved concerned Verona, 1st October the integration between the stone and the fixing system and the dimensioning of the metal connections in order to let them su- Davide Turrini: The Spanish Medical Service building in Almeria is stain the weight of the stone plates.
In this work the stone materials shape stone to move rapidly and very precisely. Why ner surface where the transparent shutters are collocated. What are its characteristi- gement of the old original structure of modest architectural qua- cs? Where are its quarries? I needed an authentic, solid, opaque material, with a chromatic nuance and a material grain of particular softness. DT: In your projects you always assign a very important value to the The stone material was the only one to guarantee all these qua- material and light qualities of the interior spaces.
Among the nu- lities; hence I chose stone also to create the movable parts of the merous buildings I recall the Savings Bank in Granada, in which the architectural wrapping. In this way the building appears sober, light proceeding from above or from lateral sources plays a funda- radical in some aspects, it is all-stone and its characteristics are mental role.
I always try to create central spaces strongly characterized by the presence of columns, pillars, walls, lights ACB: The work, which occupies completely a long and narrow and shadows: I think to the Bank in Granada but also to the Li- space, is configured as a stone box open on the north side thanks brary of Alicante. Verona, 30th September formats, composed to continuously cover the walls and the floor several graduations that regulate the illumination and guide the of the chamber; for the surface I chose a silk-like finishing, soft look of the people living the rooms inside.
For them exhibition, is characterized by the theme of the antiquarium. Carrara marble owns a splendid and stimulating variatio, with its time after time in the contemporary projecting. Travertine, luminous and eternal stone travertine. So I decided to give life to means employing new, breakthrough, strange or bright-colou- is very recurrent.
Why do you employ this material so frequently? But the true architecture has a very long time, or porary stone design pieces together with refined reproductions maybe it is timeless, and stone is the only material that lives an Alberto Campo Beaza: As a 3rd millennium architect, I defend DT: You faced Roman travertine, Italian marbles, but you also work of ancient statues lent by Accademia di Belle Arti of Florence.
The outer existence, parallel to the strictly temporal dimension; sto- the role of stone as material of the contemporary age. Stone and the same time, becoming every time stronger and more subli- engaged in this defence, visiting the ruins of the Greek and Ro- Zamora, but I also think of the Alicante library or to the Medical Ser- time, two fundamental elements of my architecture.
Stone is not old, or classic, or completely contemporary. Architectures DT: In this setting there is the reproduction of the light brought by stone. I often employ marble, very common in Spain, cheap and resistant, or the gol- ACB: Yes, I thought once again to an Italian image, that is to say in Cadiz. I keep believing that stone is able to materialize all the the travertine because, more than any other stone materials, it den and warm lumachella stone.
So, how could I be a contem- the floors, in big formats with important thickness, for I believe think every project needs its stone. If a Spanish project needs a walls.
In Inca, at the Innovation Technolo- in an Iberian country, or vice versa. Each architecture precisely sal relationship between light and stone materials. The travertine, fic case. All the stones have the same dignity and they must be warm, rich-coloured and luminous one, able to accept solar light in addiction, extraordinarily interacts with light: in the Bank in respected and valorised in their own nature.
The travertine is therefore a luminous eternal stone, it or less intense cream or blue-grey nuances, reaching in some ca- belongs to the past, the present and, above all, the future. For the pavilion I employed the Lavagnina White, quarried in Carrara in the homonymous cave of the Colonnata area on the slopes of Cima di Gioia.
Alberto Campo Baeza. Progetti e costruzioni, Milano, Electa, I ed. Alberto Campo Baeza, pp. Antichi e nuovi magisteri costruttivi, Lucca-Firenze, Lucense-Alinea, , pp.
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Avevo bisogno di un materiale vero, solido, opaco, con intonazione cromatica e grana materica di particolare morbidezza. DT: Parliamo ora del processo che ha portato a progettare e a costruire questi schermi mobili in pietra. Ho studiato autonomamente questo sistema di schermatura, elaborando gli esecutivi in stretto contatto con il validissimo fabbro di Cordoba che lo ha poi realizzato. Alla fine abbiamo raggiunto un ottimo risultato, un meccanismo efficace ed essenziale che permette alla pietra di muoversi rapidamente ed in modo estremamente preciso. DT: Ritorniamo alla pietra lumachella. Che caratteristiche ha? Dove si trovano le cave?
Alberto Campo Baeza