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Cer Magazine International n.20 - Tilmar Ceramics

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RIO BOTTA<br />

shell, thickness… the material qualities<br />

of the surface rather than transparency.<br />

How do light and matter coexist and<br />

interact in your work? What importance<br />

do they have in the definition of the<br />

project?<br />

MB. Light engenders space: without<br />

light there could be no architectural<br />

space. In my compositional studies, light<br />

plays a crucial role as a constituent<br />

element of architecture. A space created<br />

by side lighting is very different from one<br />

generated by overhead lighting.<br />

However, we must remember that light as<br />

an abstract entity requires materials in<br />

order to manifest itself. Materials thus<br />

assume a dual role: they lend visibility and<br />

substantiation to light, and thus to<br />

spaces, and underscore the aspect of<br />

gravity that is part<br />

and parcel of<br />

architecture. In its<br />

ultimate organisation,<br />

architecture<br />

entails the transmission<br />

of forces,<br />

tensions and structures<br />

that must be<br />

connected to the<br />

Enrico Cano<br />

ground. This idea of gravity has an<br />

enormous value as the physical<br />

expression of the relationship between<br />

new buildings and mother earth. Rather<br />

than resting on the earth, we can envision<br />

a building as emerging from its viscera.<br />

Instead of seeking to overcome the<br />

concept of gravity, architecture should<br />

harness it as an essential value for human<br />

living spaces.<br />

LS. Your works reveal a kind of<br />

declared “obsession” with the golden,<br />

perfect form and have strong symbolic<br />

connotations. Objects are always<br />

clearly defined, precise, meticulously<br />

designed and highly expressive. The<br />

very building we are in is a clear<br />

example of this. It is almost as if you<br />

derive from function not so much form<br />

MARIO BOTTA<br />

<strong>Cer</strong> <strong>Magazine</strong><br />

Initially inspired by Le Corbusier,<br />

Louis I. Kahn and Carlo Scarpa, he<br />

considers architecture and memory<br />

to be inseparable elements as<br />

the transformations wrought by<br />

architecture become part of the<br />

human landscape.<br />

The most distinctive features of his<br />

work are his use of light to engender<br />

space and his predilection for<br />

primary geometric shapes. From<br />

his first projects for single-family<br />

houses in the Ticino canton, he has<br />

progressed to many other kinds of<br />

buildings: schools, banks, administration<br />

buildings, libraries and<br />

museums, including MoMA in San<br />

Francisco and<br />

MART in Rovereto,<br />

as well as a<br />

number of places<br />

of worship in the<br />

last decade such<br />

as Evry Cathedral<br />

and a Synagogue<br />

in Tel Aviv.<br />

Beat Pfändler<br />

21

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