This is the first event to bring together 22 works of architecture built in different countries: Switzerland, Italy, France, Israel, Ukraine, South Korea and China. The works include 18 buildings, 3 works in progress and a proposal for a chapel at the Malpensa airport of Milan. All documented with original models, drawings and photographs. “Mario Botta. Spazio Sacro “is an exhibition project curated by the Mario Botta Architetti studio, under the scientific direction of Rudy Chiappini.
“Mario Botta. Spazio Sacro”
25 March – 12 August, 2018
Pinacoteca Comunale Casa Rusca in Locarno
Piazza Sant’Antonio 1, 6600 Locarno
After presenting internationally renowned artists (Valerio Adami, Fernando Botero, Hans Erni, Mimmo Rotella, Javier Marín and Robert Indiana), the Museum inaugurates the 2018 exhibition program with an exhibition dedicated to Mario Botta, extending its horizon of research and interest also in architecture.
The exhibition will take place in the rooms of the Pinacoteca and in the impressive pavilion built for the occasion in the external courtyard. For the first time ever, 22 architectures are presented in different countries: Switzerland, Italy, France, Israel, Ukraine, South Korea and China. These are 18 buildings, 3 works in progress and a proposal for a chapel at Malpensa airport. All projects are documented with original models, drawings and blow-ups.
The exhibition documents a type dear to the architect Mario Botta who, in many years of activity, has had several opportunities to confront the dimension of the sacred, so as to come to affirm that “through the buildings of worship I have the impression of having identified the deep roots of the architecture itself. The concepts of gravity, of threshold and of light as generatrix of space, the play of proportions and the rhythmic progression of constructive elements, make the architect rediscover the primary reasons, of a somewhat sacred nature, of architecture itself. ”
The ability of the Swiss architect is indeed to develop an architectural language based on the study of primary forms, pure volumes, elementary geometry and natural materials. An important challenge to win for Botta is to compete with the infinite through finite elements, simple figures that are more easily distinguishable and in which everyone can recognize each other.
The architecture of the sacred, in the creative path of Botta, starts from the need for spirituality inherent in man. Each of the 22 buildings, beyond the religious confessions to which they are destined (Judaism, Christianity and Islamism), stands as a paradigm of a way of interpreting this need, to give shape to the collective values of our life, modeling light and space as well to draw a recognized and shared symbolic meaning. All this by recovering the constructive tradition of the past, in particular, the use of brick and stone, the latter often coming from the places where the architect puts in place his interventions, wishing to pursue also the objective of contextualizing the own architectures respecting the genius loci.
His commitment to interpreting the sensibility of contemporary culture and at the same time the desire to evoke and reinforce that territory of history and memory that constitutes the true heritage of the identity of European architecture, is configured as a “critical reason” that is opposed to the fragility of models and fashions offered by the urgent globalization. For Mario Botta – always – “building is in itself a sacred act, it is an action that transforms a condition of nature into a condition of culture; the history of architecture is the story of these transformations.
The need that pushes man to confront the dimension of the infinite is a primordial necessity in the search for the beauty that has always accompanied man in the construction of his own space of life. For the architect to penetrate unknown forms of expression in an attempt to respond to the needs of the house of God, it also becomes a way of rethinking man’s house. ” The exhibition is accompanied by an illustrated catalog, accompanied by an introduction of critical essays (Salvatore Veca, Gianfranco Ravasi, Corrado Bologna, Pierluigi Panza, Giorgio Ciucci) and a selected anthological collection to complement each chapter.