877 Gordon Bunshaft Studio Ponsi Werner Tscholl Rosenbaum+Aleph Zero Mavaa–Vezzosi Gray Organschi Peter Zumthor Tyin Tegnestue

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877 Gordon Bunshaft Studio Ponsi Werner Tscholl Rosenbaum+Aleph Zero Mavaa–Vezzosi Gray Organschi Peter Zumthor Tyin Tegnestue 877 TRE SCUOLE NORVEGIA ROSENBAUM+ALEPH ZERO PETER ZUMTHOR GORDON BUNSHAFT MAVAA–VEZZOSI TYIN TEGNESTUE CASA BUNSHAFT, 1962–63 GRAY ORGANSCHI +RINTALA EGGERTSSON STUDIO PONSI WERNER TSCHOLL DAL 1928 ITALIAN+ENGLISH EDITION ANNO LXXXI N.9 – 8 SET 2017 ITALIA €12,00 AUT €22,50. BEL €21,70. CAN $37,00. CHE IT CHF27,00. CHE DE CHF27,50. DEU €28,00. ESP €21,40. FIN €22,00. FRA €20,00. GBR £17,00. PRT CONT €20,10. USA $31,50. 877 1 CasaBELLA 877 1996–2016 INDICI NUOVA EDIZIONE INDICES 632–869 NEW EDITION SETTEMBRE 2017 IN CONSULTAZioNE ESCLUsiVA SU: AVaiLABLE FOR REFERENCE ONLY AT: CasaBELLAWEB.EU 3—13 26—55 56—89 Nicholas Adams GORDON BUNSHAFT LA SCUOLA NON È ComE Tra LE RUGHE a cura di Chiara Baglione IN CINQUE PUNTATE LE OPERE LA PORTA DI DUCHamP DEL PAEsaggio DEL ProgETTisTA CHE HA PorTATO 27 57 A SOM IL PriTZKER PriZE JOHN HEJDUK SBarCA IN NORVEgia: a cura di Chiara Baglione RosENBAUM+ALEPH ZEro CoLLEGIO FoNDAZIONE BraDESCO, arCHETIPI IN PUNTA DI PIEDI 5 Francesca Chiorino GORDON BUNSHAFT FaZENDA CANUANÃ, Formoso DO 58 3/5 AragUaia, ToCANTINS, BrasiLE GORDON BUNSHAFT PriVATO: 27 PETER ZUMTHOR TraVERTINE HoUSE A EasT HamPTON CoLLEGIO FoNDAZIONE CENTro DI ACCogLIENZA E BraDESCO – FaZENDA CaNUANÃ MUSEO DELLE miNIERE DI ZINCO Nicholas Adams Camillo Magni ALLmaNNajUVET, SAUDA, NORVEgia 14—25 37 60 MAVA A arQUITECTos, ATmosFERE, Tra GHosT TOWN DUE CasE E CasTELLI MEDIEVALI VEZZosi 14 Francesca Chiorino SCUOLA ELEMENTarE E maTERNA, STUDIO PoNsi 76 SANT’ALBINO, MONTEPULCiaNO, Casa IN MarEmma, magLiaNO, siENA TYIN TEGNESTUE + grossETO 37 RINTALA EggERTssoN, 15 IN ITALia, UNA SCUOLA DA PorTO ForDYPNINgsrommET FLEINVÆR, DUE PADri E UN SUggEriTorE Marco Mulazzani GILDESKÅL, NORVEgia NON INgomBraNTE Jean-Marie Martin 43 78 GraY OrgaNSCHI NOTE NEL PAEsaggio 20 Marco Biagi WERNER TsCHOLL ARCHITECTURE Casa GamPER, VELTURNO, BoLZANO CommoN GroUND HigH SCHOOL, 90—96 NEW HaVEN, CoNNECTICUT, 21 BIBLIOTECA UNA Casa È UNA Casa... STATI UNITI Marco Mulazzani 43 90 GraY OrgaNSCHI ARCHITECTURE RECENsioNI Ted Whitten 92 VENEZia 1980. La BiENNALE DEL PosT-moDERN E LA "FINE DEL ProiBIZIONismo" Massimiliano Savorra 97—99 ENGLISH TEXTS 97 ENGLisH TEXTS IN COPERTINA PETER ZUMTHor, CENTro DI ACCogLIENZA E MUSEO DELLE miNIERE DI ZINCO ALLmaNNajUVET, SAUDA, NORVEgia: SCHIZZO DI STUDIO DELLA MINING GALLERY PETER ZUMTHOR, VisiTors’ CENTER AND MUSEUM OF THE ALLmaNNajUVET ZINC miNES, SAUDA, NorWAY: STUDY SKETCH OF THE MINING GALLERY ESTO SOMMARIO CASABELLA 877 3 2 Gordon Bunshaft 3 5 Gordon Bunshaft privato: Travertine House a East Hampton Nicholas Adams Gordon Bunshaft si sentiva a casa quando era circondato strada con una fitta cortina di case a due piani costruite dall’arte. I modi eccentrici e bruschi, gli scatti talvolta inop- nel primo Novecento3. Si trattava di un sobborgo rispet- portuni –che forse oggi verrebbero riconosciuti come una tabile di piccoli commercianti, impiegati e dirigenti di me- forma di autismo– svanivano o erano comunque accet- dio livello: un quartiere borghese, servito dal tram, in una tati nell’ambiente artistico. «La cosa più bella che ci è ca- città a forte vocazione operaia. Per un ragazzo che non an- pitata entrando in contatto con il mondo dell’arte è stata dava bene a scuola, aveva difficoltà a leggere e problemi trovare […] due grandi amici: Henry Moore e Jean Dubuf- di socializzazione («Non credo di aver baciato una ragazza fet. La loro gentilezza nei miei confronti è prima dei ventidue anni»), il mondo della forma e dell’at- stato il complimento più lusinghiero che tività manuale era un rifugio che lo rendeva più sereno. ESTO abbia mai ricevuto, considerando che Il giovane Bunshaft allestì un piccolo laboratorio nello 3 1 —Gordon Bunshaft, Casa Bunshaft, io non sono un intellettuale, sono sem- scantinato di casa, dove «la sera e nei fine settimana» si East Hampton, Long Island, NY, plicemente schietto». Bunshaft aveva le dedicava alla sua passione: costruire mobili4. 1962–63 (demolita). Dettaglio del idee chiare riguardo a ciò che gli piaceva Pur essendo un architetto che in genere non proget- fronte nord con l’ingresso principale —Gordon Bunshaft, The Bunshaft (Miró, Léger) e ciò che non gli piaceva tava abitazioni, Bunshaft dava molto importanza alla pro- Residence, East Hampton, Long (Pollock), e quando si trattava di arte tro- pria. Così come aveva costruito armadi e letti nello scanti- Island, NY, 1962–63 (demolished). vava una valida collaboratrice nella mo- nato della casa dei genitori a Manchester Place, riconfigu- Detail of the north façade with the main entrance glie Nina: «Non compriamo mai niente rando secondo il proprio gusto varie parti dell’abitazione, 2 se non siamo completamente d’accordo anche le case in cui visse da adulto diventarono espres- —veduta del muro d’ingresso da sull’acquisto»1. Promuovere la presenza sione del suo mondo di immagini. Come nel caso di tanti ar- nord. L’entrata è nascosta a sinistra; dell’arte negli edifici che progettava era chitetti prima di lui, le sue residenze rispecchiavano il suo a destra si vede lo schermo che copriva un volume di servizio fuori la naturale conseguenza di questa pas- gusto artistico raffinato ed erano una buona pubblicità per dalla cucina sione, oltre che un buon affare. Bunshaft la sua architettura. A New York, Gordon e Nina lasciarono —view of the entry wall from the non si limitava a riconoscere la qualità di il Greenwich Village per trasferirsi nella Manhattan House north. The entrance is hidden to th the left; to the right is the shield un’opera, sapeva anche dove collocarla (1947–51) al 200 di East 66 Street, il moderno edificio di protecting the garbage area per ottenere il massimo effetto2. appartamenti in laterizi bianchi che lui aveva contribuito a outside of the kitchen Nato nel 1909, Gordon Bunshaft progettare. Da lì, con una breve passeggiata, poteva rag- 3 th —veduta della casa da sud crebbe a Buffalo, vicino al lago Erie, in giungere lo studio di SOM, all’angolo tra Park Avenue e 56 —view of the house from the south un’epoca in cui la città industriale era an- Street. Nel 1958, sette anni dopo il trasferimento (e quattro che un fiorente centro commerciale. Suo anni dopo il trasloco in un altro appartamento dello stesso padre vendeva uova all’ingrosso e sua palazzo) chiese a Ezra Stoller di fotografare la casa e la col- madre faceva la casalinga. La famiglia, lezione d’arte. Le luci nascoste illuminavano le pareti, ricre- che comprendeva anche la sorella Pau- ando nell’appartamento bianco l’atmosfera di una galleria line, viveva al 55 di Manchester Place, una o di un museo. Bunshaft mescolava opere d’arte moderna ESTO 4 Gordon Bunshaft 3/5 CASABELLA 877 5 4 5 4 Nina Bunshaft’s marker. It was, 6 —la casa in cui viveva la famiglia in all likelihood, moved to allow the Bunshaft al 55 di Manchester Place, lawnmowers to cut the grass more a Buffalo (2015). Il laboratorio di easily. The stone, placed on the Bunshaft doveva essere nello marker, is a Jewish custom shows scantinato that a visitor has remembered the —the Bunshaft Family home at 55 deceased Manchester Place, Buffalo (2015). 6 Bunshaft’s workshop would have —Gordon Bunshaft, Manhattan been in the basement House, New York, 1947-1951. Il 5 secondo appartamento acquistato —il lotto della famiglia Bunshaft al dai Bunshaft, qui fotografato da NICHOLAS ADAMS NICHOLAS Temple Beth-El Cemetery di Ezra Stoller nel 1958, ospitò la loro collezione d’arte. Per effetto NICHOLAS ADAMS NICHOLAS Cheektowoga, NY (2015). I genitori ESTO David e Yetta Bunshaft sono sepolti dell’illuminazione nascosta, i dipinti a destra; Nina e Gordon Bunshaft a sembravano distaccarsi dalle sinistra. È possibile che in origine nicchie. Il pavimento, come nella l’urna tra le due sepolture fosse successiva residenza di East collocata a sinistra della lapide di Hampton, era di travertino. Le Nina Bunshaft. Con tutta probabilità poltrone su disegno di Mies van fu spostata per consentire ai der Rohe sono prodotte da Knoll occidentale (Léger, Miró, Giacometti, Dubuffet, Nicholson, Qualche tempo dopo, nell’inverno giardinieri di tagliare il prato più —Gordon Bunshaft, Manhattan terrazze. Le pareti interne erano intona- Johnson a New Canaan, in Connecticut (1949), e dalle ville facilmente. Secondo l’usanza House, New York, 1947–51. The Bertoia, Calder) con manufatti africani, giapponesi, messi- del 1962, Bunshaft cominciò a proget- ebraica, il sasso lasciato sulla lapide second apartment owned by the cate di bianco per riecheggiare il traver- di Frank Lloyd Wright nella regione occidentale e sudoc- cani ed etruschi nello stile eclettico poi adottato da SOM tare una casa per il fine settimana a East indica che un visitatore ha ricordato Bunshafts, here photographed tino dei pavimenti posato sopra una pia- cidentale degli Stati Uniti? Sembrerebbe di no. È piutto- per i propri uffici. Quanto agli arredi, scelse Mies van der Hampton sull’isola di Long Island, uno i defunti by Ezra Stoller in 1958, became stra di fondazione di calcestruzzo get- sto la profonda consapevolezza delle scelte in fatto di arte —the Bunshaft Family plot at the the site for their art collection. Rohe (poltrone realizzate da Knoll a partire da disegni, an- spazio che sviluppò a partire dalla più Temple Beth-El Cemetery, The use of hidden lighting allowed tato in situ. e architettura a renderla tanto particolare. Mentre Mies e cor prima che entrassero in produzione), Ward Bennett, modesta espressione di gusto artistico Cheektowoga, NY (2015). Parents the paintings to stand forward La parete d’ingresso sul fronte nord Johnson, idealizzando la scatola di vetro moderna, face- Marcel Breuer ed Eero Saarinen; c’era anche una lampada della Manhattan House. La casa per il David and Yetta Bunshaft are to from the alcoves.
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