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MARIO BOTTA. Swiss
architect Mario Botta began his formation in 1953 like draftsman with architects
Luigi Carmenisch and Tita Carloni, in Lugano. From 1961 to 1964 he went to the
Grammar school of Art of Milan. The first house designed by him, when as soon as
it was eighteen years old, was the parochial house of Genestrerio (1961-1963).
From 1964 it studied with Car it Scarp and the historian of the art Giuseppe
Mazzariol in the University Institute I gave Architecture of Venice. In 1965 it
worked with Julian of Font and Jose Oubrerie in the study of Him Corbusier that
made its last project: the new hospital of Venice. When finalizing their studies
knew Louis Kahn, with who collaborated in a exhibition in the Palazzo Ducal,
related with the project for the new palace Congresses Venice. In 1970, Botta
opened in Lugano its own study. Two years later it planned his more extensive
project until then: the school of average degree of Morbio Inferior (1972-1977).
Time and time again it constructed unifamiliares houses whose design is based on
geometric forms basic, like the house of ashlars masonry in Cadenazzo
(1970-1971), the rectangular tower of houses with bridge passage of Riva San
Vitale (1971-1973) and the building in form of cylinder of Stabio (1980-1982).
It is necessary to also mention the library of the convent of the capuchins of
Lugano (1976-1979) that, although located under earth, has much light due to the
crystal tile roof in conservatory form. In great projects that came later, like
the annex of the Staatsbank de Fribourg (1977-1982), Botta tried to integrate
its diaphanous geometry in the urban context. In 1983 titular professor in the
Superior School of the Confederation in Lausanne and member of honor of the Bund
Deutscher Architekten was named. In 1983 titular professor in the Superior
School of the Confederation in Lausanne and member of honor of the Bund
Deutscher Architekten was named.
Romanic vault.
The vault in the Romanesque one. The space of the románic church is, then, a
dynamic space whose architectonic lines and of vision converge in the absidial
river basin, place in where the power of the divinity is pronounced. The cover
of this space was one of the main problems of the Romanics construction foremen
and according to the geographic times, regions, the climate of the same ones,
the available materials and the economic capacity of the communities, it
received very diverse solutions. The wood cover on armor to two waters was
without doubt the solution simplest to close the light of the ship of main, but
its easy combustibility made it advise againstable in according to which regions
and circumstances. In order to replace it was decided on the semi cylindrical
stone vault (vault of tube or average tube) reinforced by arcs fajones.
Solutions simpler under the constructive point of view were adopted in the cap
of the square spaces, like those of the sections of the lateral ships or those
of crypts, those of the arms of transept etc. In these they were used, in
general edge vaults, that is to say, those arisen from the alive insertion of
two average tubes, perpendiculars one with respect to other for to cover the
cruise, one of the most significant places of the church, space intersection of
the longitudinal ship with the cross-sectional one, were adopted the hemispheric
cupola, of Roman tradition like the vault of tube and the one of edges, opened
by a lantern in their cupola and supported on pechinas or tubes, elements that
facilitate the transit between the superior hemispheric zone and the square
space, more rarely rectangular of the plant. The solution of the tubes, of
Eastern tradition, consists of a niche in truncated cone form that is able to
transform the square of the plant into octagon. The pechinas, also of Eastern
origin, consist of triangles with the surface and the concave sides, two of as
they are confused with the formers arcs or of support of the cupola, and third
with the circle of the same base. In certain zones, especially southern, in
which the inheritance of the classic world and the one of the Eastern tradition
are combined, as it happens in Lombardy, are particular solutions that tend to
compartmental or to fragment the vaults by means of moldings or ribbings that
they precede to the gothic crossover of noses. |
