Year: 2004 Site: Main cemetery, Vicenza Client: Private Service required: plan and supervision of works
The plan creates an inside place independent from the outside context, a kind of close micro-cosmos, devoted to the relationship with the deceased hosted there. Therefore the golden section applied to plant and elevations and the study of space and details in order to suggest the idea of a monolith cube hollowed out, autonomous and ended off in itself, of hard stone outside and soft stone inside, with changing colors during the different daytimes. The communication between inside and outside, between ground and sky is always filtered: by the stainless steel door, pierced by a constellation of holes, or through the chinks of the lateral door frameworks, letting a grazing light, but which are never to be seen directly. The materials: Istria stone outside, Vicenza stone with three tones (white, yellow, grey) inside and rosewood marble for the graves of the two progenitors. The stone coffered ceiling stands on stainless steel laminas.
Year: 1995 Client: Koinè Service required: exhibit on request
With the Reformation requested by the Second Vatican Council the liturgy resumes its central position. The altar is again the core of the Church, as required by the antique tradition. Complying with the visibility prescriptions by CEI (Italian Bishops Conference) the plan made of the church is of the "post-council" kind, in order to experiment the quality of architecture with a view to the new liturgy needs.
Year: 2011 Site: Cemetery, Gambellara, Vicenza Client: Private Service required: plan and supervision of works
The project aims to achieve an intimate and welcoming place and at the same time open thanks to some cut-shots on the world around it, especially the vineyards of the surrounding hills. Not only the landscape and the sky creep inside the chapel, but the light helps to create strong emotions and games of references. Details become a pretext to enter into the composition of symbolic elements such as gates and doors, made as crosses and votive lamps (steel discs set into the marble recall the lightness - the fragility of existence). Nature also finds room inside with a flowerbed that hosts a maple located next to a sitting, creating a micro-site devoted to meditation and prayer. The chapel completely covered in Botticino marble becomes the area of contrasts: light - shade, exterior - interior, culture - nature, earthing life - spiritual life. Photographer's credits: Arnaldo Dal Bosco
Year: 2000 Site: Rotzo (VI) Client: Parish di S. Margherita in Rotzo Service required: plan and supervision of works
The plan of ornaments of sacristy, altar, seats, lectern and pews is featured by big plainness (local white marble and fir wood) according to the environment of the ancient church. The firm coordinated as well the ad hoc realization of a Christ of terracotta, hung then on the ceiling complying with ancient use.
Year: 2000 Site: San Vito di Leguzzano (VI) Client: Parish of S. Vito di Leguzzano Service required: plan and supervision of works
The firm was in charge of the plan of the altar, the pews and the lectern. The baroque context of the church reclaimed near plainness shapes, that couldn't interfere with the existing ones, the use of precious materials: Carrara marble, African dark wood and leather for the seats.
Year: 2010 Promoted by: Diocesi di Acerra Service required: competition for the liturgical adjustment of the Acerra cathedral
The project, elaborated for the Diocesi of Acerra, starts from the consideration that the Cathedral is the result of stratifications and interventions that determined, over the years, as a non-organic all-together in terms of design and functionality. The intervention of liturgical adjustment aims to retrain the spaces and the functions, through net marks that reorganizes, in a coherent way the altogether ness around the cross of the naves with the transept under the cupola, new centre of celebration. The choice of "liberate" the space of the altar and the sacramental meeting (in front of presbytery) is motivated from the consciousness that the liturgy is "a space that makes space" to the present acts of the Lord, source of eternal life. The biblical-patristic image of "river of Life" is the iconologic theme that connects the whole composition. The main pole of celebration gravitates around the altar-holy communion, rising from a new basement in which design, respectful of the existent, completes clearly the altar, ambo and the site of presidency. A semi-transparent "veil" and a crucifix above the altar underline once more the centrality of celebration, without hiding the pre-existents of presbytery and chorus. The celebration area is connected with other elements and significant functions of the blessed space of the Cathedral, establishing a new dialogue. In particular the baptismal font and the Rossella Petrellese's tomb are emphasized in a renewed symbolic note in the end of nave. Geometric pure forms and noble materials like marble and stone carved in flat and smooth surfaces, in harmony with the pre-existents, are the main theme of the intervention. On those forms an artistic intervention is inserted, of matter, rude and irregular, as a script that rests on the light. Credits: Liturgical Consultant: Don Paolo Tomatis - Art Historian: Maria Cristina Paoluzzi - Artist: Gian Antonio Golin - Technical consultant: Flavio Arcandi
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