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903 Olivetti 1908–1958 Elemental Ricardo Bak 903 SCUOLE E MUSEI ARCHITETTURE PER GLI OSPEDALI ELEMENTAL EDDEA ARCHITECTURE OLIVETTI 1908–1958 RICARDO BAK GORDON & URBANISM SERGIO POLANO ADOLFO ZANETTI EL EQUIPO MAZZANTI HEIKE HANADA IGNACIO MALLOL TAMAYO DAL 1928 ITALIAN+ENGLISH EDITION ANNO LXXXIII — NOVEMBRE 2019 ITALIA €12,00 AUT €22,50. BEL €21,70. CAN $37,00. CHE IT CHF27,00. CHE DE CHF27,50. DEU €28,50. ESP €21,40. FIN €22,00. FRA €20,00. PRT CONT €20,10. USA $31,50. CB903 copertina OK.indd 1 23/10/19 16:48 903 SCUOLE E MUSEI ARCHITETTURE PER GLI OSPEDALI ELEMENTAL EDDEA ARCHITECTURE OLIVETTI 1908–1958 RICARDO BAK GORDON & URBANISM SERGIO POLANO ADOLFO ZANETTI EL EQUIPO MAZZANTI HEIKE HANADA IGNACIO MALLOL TAMAYO DAL 1928 ITALIAN+ENGLISH +JAPANESE EDITION CASABELLA-JAPAN.JP CB903 copertina OK.indd 2 23/10/19 16:48 903 copertina / cover Johannes Iden, Casa dell’uomo bianco, litografia, 1922 Johannes Iden, White man’s house, lithograph, 1922 1996–2018 INDICI NUOVA EDIZioNE sommario INDICES 632–893 NEW EDITioN IN CONSULTAZioNE ESCLUSIVA SU: AVaiLABLE For REFERENCE ONLY AT: 903 — nOVEMBRE 2019 CasaBELLAWEB.EU 3–57 48 SCUOLE E MUSEI IGNACio MALLOL 4 TamaYO ELEMENTAL MUSEO DE LA LiBERTAD, COLEGIO AYELÉN, PaNama RANCAGUA, CiLE 49 5 RAZioNALismo AI TroPICI La SCUOLA ComE CENTro DI Camillo Magni ComUNITÀ Marco Biagi 60–79 ARCHITETTURE 18 PER GLI osPEDALI RICarDO BaK GorDON 63 E BERNHarD MAURER DaLLA CoLomBia ALLA SPAGNA, SCUOLA WEITENZELG, NUOVE FormE DI INNOVAZIONE RomaNSHorN, TIPOLOGICA LaGO DI CosTANZA, SVIZZEra Camillo Magni 19 UN moDELLO DI SCUOLA PER GLI 65 STUDENTI E PER LA ComUNITÀ EDDEA ARCHITECTURE Federico Tranfa & UrBANism 26 CENTro osPEDALIEro A CaZorLA, JAÉN, SPAGNA ADOLFO ZaNETTI SCUOLA A CasLANO, 73 CaNTON TICINO, SVIZZEra EL EQUIPO MAZZANTI 27 UNA SCUOLA AL SERVIZio DELLA AMPLiamENTO DELL’osPEDALE ComUNITÀ DELLA FoNDAZioNE SANTA FE, Marco Mulazzani BoGOTÁ , COLomBia 36 80–97 HEIKE HANADA BaUHAUS-MUSEUM WEimar, DisEGNO INDUSTriaLE GErmaNia OLIVETTI 1908–58 37 81 IL BaUHAUS TorNA A WEimar “SErio ED ELEGANTE” Luis Feduchi Sergio Polano 46 CENT'ANNI DI BaUHAUS Luis Feduchi 98—101 ENGLISH TEXTS 98 ENGLisH TEXTS Per mancanza di spazio in questo numero di «Casabella» non compaiono le pagine dedicate alla “Biblioteca dell’Architetto”: ci scusiamo con i lettori. 2 SOMMARIO Laboratorio dei metalli del Bauhaus, Weimar 1923 Metal workshop at the Bauhaus, Weimar 1923 Scuole e musei 1 Ignacio Mallol Tamayo Museo de la Libertad, Panama Razionalismo ai tropici intaccare le preesistenze arboree. In particolare Camillo Magni un grande albero esistente di Corotù Il Museo della Libertà e dei Diritti Umani sorge (Enterolobium Cyclocarpum) lambisce il fronte su un piccolo promontorio negli immediati pressi est e diventa il fulcro visivo dell’intero intervento. del ponte delle Americhe, la straordinaria Il prospetto stesso, realizzato con ampie e infrastruttura che unisce con un lembo di silenziose murature intonacate di bianco, diventa cemento i due continenti americani. Il valore lo sfondo sul quale l’albero di corotù si riflette simbolico del luogo si riverbera nell’ambizione costruendo interessanti interazioni tra edificio del programma museale: narrare la storia della e natura. democrazia di Panama e del mondo attraverso Una piazza esterna funge da vestibolo 1 il susseguirsi degli eventi storici che l’hanno e accoglie i molti visitatori in arrivo da due vista generale del museo e della grande pensilina che funge da rappresentata. Queste premesse avrebbero potuto continenti. L’importanza di questo spazio è vestibolo per l’accesso agli spazi orientare l’autore verso un progetto iconico evidenziata da una grande pensilina in cemento espositivi overall view of the museum inducendolo alla spettacolarizzazione delle armato realizzata da un sistema di travi a vista and of the large canopy that forme. Diversamente lo studio di Ignacio Mallol a doppio arco con flesso centrale che corrisponde functions as a vestibule for access to the exhibition Tamayo propone un intervento caratterizzato all’unico appoggio realizzato da una trave spaces dal rigoroso controllo delle figure, dall’uso di a “V” sorretta da due soli pilastri inclinati a forma materiali semplici, dall’assenza di cromatismi di “Y”. La complessità della struttura si mostra e dal rispetto dell’ambiante vegetale circostante. attraverso le muscolose geometrie dei suoi Al forte impatto sociale del tema espositivo componenti in dialettico equilibrio tra loro. Nel l’architetto risponde con la potenza della solco della tradizione delle architetture tropicali semplicità, aggregando volumi puri e strutture l’ombra rappresenta l’anticamera degli spazi primarie. interni, il luogo dove godere del comfort termico Inserito in un contesto condizionato dal delle zone d’ombra e del piacere della brezza. Il sistema viabilistico del ponte, l’edificio occupa rapporto tra i volumi del museo e della copertura una piccola porzione del lotto mirando a non antistante è un intrigante dialogo tra oggetti di CasaBELLA 903 49 3 natura diversa accomunati dal colore, ma diversi Ignacio Mallol Tamayo per senso architettonico e formale. In questo Museo de la Libertad, Panama equilibrio risiede l’interesse del progetto, nella scheda del progetto capacità di manipolare forme disomogenee progetto Ignacio Mallol Tamayo in armonia tra loro. team di progetto 2 Il museo è relativamente di piccole Ignacio Mallol Tamayo, Juan dimensioni, circa 630 mq disposti su tre piani. Carlos Sáenz, Grace Attie curatore museale L’organizzazione funzionale si articola in due Heidi McKinnon semplici parti: un volume ospita la distribuzione progetto e realizzazione allestimento museografico verticale e orizzontale contenendo una scala, un ReHaB ascensore e degli spazi a doppia e tripla altezza; impresa mentre un secondo volume è dedicato alle aree Constructora Ripard committente espositive e di servizio. I due corpi edilizi si Fundación Democracia differenziano per dimensione e carattere y Libertad dati dimensionali architettonico: il volume dedicato alla 633.95 mq superficie costruita distribuzione presenta un ordinato rivestimento 6.603,41 mq superficie spazi in vetro con orientamento verticale, il secondo aperti cronologia ha proporzioni cubiche con un impaginato 2016: progetto di facciata in cui finestre a nastro orizzontali 2017–19: costruzione localizzazione e verticali compensano ampie murature Avenida Amador, Calzada bianche. Alcuni piccoli arretramenti posti de Amador, Città di Panama, in corrispondenza della tangenza tra le parti Repubblica di Panama evidenziano l’autonomia dei volumi che aspirano fotografie a valorizzare una composizione aggregativa pura. Fernando Alda È evidente il riferimento al primo razionalismo tedesco così come l’ambizione di costruire la qualità architettonica attraverso l’astrazione geometrica e materica delle forme. L’allestimento interno usa una diversa sintassi compositiva: articolato in tre ambienti 2 dedicati ad altrettante sezioni tematiche, vi schizzo di progetto project sketch permane l’uso del colore bianco in contrasto al 3 nero delle pareti e dei soffitti. Il risultato è una pianta del piano terra, del primo piano, del secondo piano e della successione di segni, simboli e forme bianche copertura. Le due sezioni sovraesposte con luce artificiale che fluttuano trasversali evidenziano lo spazio espositivo e quello di risalita in neri spazi di penombra che costruiscono ground, first and second floor l’espediente narrativo di sicura efficacia plans, roof plan. The two cross-sections show the divulgativa. exhibition space and the Il Museo della Libertà e dei Diritti Umani vertical access di Panama elude le convenzioni formali coniugando con sorprendente armonia le rigorose forme degli esterni alle potenti strutture del portico e all’espressivo allestimento degli interni. È nel controllo dell’armonico equilibrio tra le parti che risiede la sofisticata qualità dell’opera di Mallol Arquitectos. 50 Scuole e musei CasaBELLA 903 51 7 4 6 4, 5, 6 alcuni dettagli della piazza e della pensilina caratterizzata dalla nervatura della struttura estradossata e dai pilastri inclinati details of the plaza and the canopy displaying the ribbing of the structure and the inclined pillars 7 vista del prospetto ovest in cui prevalgono le ampie murature bianche senza finestre view of the west elevation, showing the large white walls without windows 8 vista del prospetto est e della massiccia struttura della pensilina view of the east elevaton and the massive structue 5 of the canopy 8 52 Scuole e musei CasaBELLA 903 53 9 10 9 vista generale del prospetto est caratterizzato dai volumi pieni, dalla pensilina, dalle ampie vetrate e dalle preesistenze arboree overall view of the east elevation characterized by full volumes, the canopy, the large glazings and existing trees 10, 11, 12 immagini degli interni che mostrano l’allestimento del percorso espositivo caratterizzato dall’uso dei colori nero e bianco e da forme organiche Interior views showing the setup of the exhibition itinerary, the use of black and white and the organic forms 11 12 54 Scuole e musei CasaBELLA 903 55 17 13 15 13 17 vista frontale della vetrata vista frontale della geometrica che illumina il corpo scale facciata in vetro del corpo scale frontal view of the glazing frontal view of the geometric that lights the stairwell glass facade of the stairwell 14, 15, 16 immagini dell’interno del corpo scala in cui è evidente il rapporto con il paesaggio naturale circostante images of the interior of the stairwell showing the relationship with the surrounding natural landscape 16 14 56 Scuole e musei
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