Domus 750 June 1993
Aurelio Galfetti- restoration of Castelgrande, Bellinzona. Francesco di Giorgio Martini.
Aurelio Galfetti: Castelgrande, Bellinzona
(in German)
Frank Werner, Aurelio Galfetti, Stefania Beretta
Ernst & Sohn, 1992 - 59 pages
The notion of "building in historical surroundings" gained a whole new meaning from Alexander Mitscherlich's 1965 book Die Unwirtlichkeit unserer Stadte, and the subject has lost none of its topicality today. The Ticino architectural scene is particularly interesting in this respect: it has attracted international attention since the sixties because of its programmatic tendency towards design rebellion.
Although Ticino architecture's considerable impact since then has come principally from new buildings, revitalization and conversion of historical architecture was always on a par with new building. Aurelio Galfetti is one of the leading lights of the Ticino scene, and his transformation of the ruined remains of the Castelgrande in Bellinzona into a contemporary museum and culture centre provides us with something like a provisional resume of decades of architectural reform effort. After a continuous series of typological corrections to Bellinzona's diffuse townscape, Galfetti was concerned mainly to sharpen public awareness of the genius loci and its history, but above all its future, when rebuilding the Castelgrande. These efforts produced what is without a doubt one of the most important conversion projects in recent building history since Carlo Scarpa's legendary work on the Castelvecchio in Verona.
Galfetti had neither restored nor conserved Bellinzona's "Acropolis". At the most -- as the Neapolitan architect Francesco Venezia would say -- he had joined pieces together to spaces in which light, objects and landscape hold silent communication. He was concerned in the first place to transform an extraordinarily damaged historical situation into an analogue reality that would make it able to speak again.
Alessandr o Massarent e
Aurelio Galfetti- restoration of Castelgrande, Bellinzona. Francesco di Giorgio Martini.
Aurelio Galfetti: Castelgrande, Bellinzona
(in German)
Frank Werner, Aurelio Galfetti, Stefania Beretta
Ernst & Sohn, 1992 - 59 pages
The notion of "building in historical surroundings" gained a whole new meaning from Alexander Mitscherlich's 1965 book Die Unwirtlichkeit unserer Stadte, and the subject has lost none of its topicality today. The Ticino architectural scene is particularly interesting in this respect: it has attracted international attention since the sixties because of its programmatic tendency towards design rebellion.
Although Ticino architecture's considerable impact since then has come principally from new buildings, revitalization and conversion of historical architecture was always on a par with new building. Aurelio Galfetti is one of the leading lights of the Ticino scene, and his transformation of the ruined remains of the Castelgrande in Bellinzona into a contemporary museum and culture centre provides us with something like a provisional resume of decades of architectural reform effort. After a continuous series of typological corrections to Bellinzona's diffuse townscape, Galfetti was concerned mainly to sharpen public awareness of the genius loci and its history, but above all its future, when rebuilding the Castelgrande. These efforts produced what is without a doubt one of the most important conversion projects in recent building history since Carlo Scarpa's legendary work on the Castelvecchio in Verona.
Galfetti had neither restored nor conserved Bellinzona's "Acropolis". At the most -- as the Neapolitan architect Francesco Venezia would say -- he had joined pieces together to spaces in which light, objects and landscape hold silent communication. He was concerned in the first place to transform an extraordinarily damaged historical situation into an analogue reality that would make it able to speak again.
Alessandr
Castelgrande a Bellizona. Aurelio Galfetti
36 pp., ill. b.n. e colore
Questo progetto già oggetto di un ampio dibattito sulle più important i riviste
di architett ura, mette in luce il ruolo dei restauro come trasforma zione, la necessità
di dare un esito formale al cambiamen to dei modi d'uso per conservar e l'edifici o. In questo
delicat o processo di trasforma zione, il progetto conserva, gli elementi essenzial i del
luogo (la roccia, le mura, l'acqua, il prato) donando loro un nuovo senso. Al punto che
questo lavoro appare come l'ultima delle trasforma zioni subite dal complesso in ordine di tempo:
tale però da non precluder e la possibili tà di altre trasforma zioni successiv e.
Questo progetto già oggetto di un ampio dibattito
di architett
di dare un esito formale al cambiamen
delicat
luogo (la roccia, le mura, l'acqua, il prato) donando loro un nuovo senso. Al punto che
questo lavoro appare come l'ultima delle trasforma
tale però da non precluder
|