The recovery project of Forte Arbuticci in Caprera by Pietro Carlo Pellegrini, as a memorial to Giuseppe Garibaldi, as narration, history, celebration of belonging: moving around the main buildings, we discover the accuracy of a recovery intervention of the external spaces, which makes us think that that place has always been like this, that those stones are always been there, that those metal railings were designed and positioned somewhere dark and serious officer of the Savoy Military Engineers, inexplicably almost untouched, and what is he doing? understand how the architect chose another dialogue, terribly difficult, but always there characterizes his work, which is the dialogue with Time. We understand this form of dialogue, as the search for an element of belonging to the past, and therefore to the future, to be placed, to be created, to be inserted into an architecture: the missing building of Alvaro Siza's Porto School comes to mind, or the colored ceramic of the Pavilion of Portugal in Lisbon, also by the Portuguese Maestro; that work on the "wind of Time that caresses the building", which makes us perceive architecture as heroic why not it is obtusely linked to everyday life, it is not an expression of adolescent egocentrism, like much architecture of our times (and unfortunately also of these places).
Il progetto di recupero di Forte Arbuticci a Caprera di Pietro Carlo Pellegrini, come Memoriale di Giuseppe Garibaldi, come narrazione, storia, celebrazione appartenenza: muovendosi intorno agli edifici principali, scopriamo l’esattezza di un intervento di recupero degli spazi esterni, che ci fa pensare che quel luogo sia sempre stato così, che quelle pietre siano sempre state lì, che quelle ringhiere metalliche siano state disegnate e posizionate da qualche oscuro e serio ufficiale del Genio militare Sabaudo, inspiegabilmente quasi intonse, e che ci fa capire come l’architetto abbia scelto un altro dialogo, terribilmente difficile, ma che da sempre caratterizza la sua opera, che è il dialogo con il Tempo. Intendiamo questa forma di dialogo, come la ricerca di un elemento di appartenenza al passato, e quindi al futuro, da collocare, da creare, da inserire in un’architettura: viene in mente l’edificio mancante della Scuola di Oporto di Alvaro Siza, o la ceramica colorata del Padiglione del Portogallo a Lisbona, sempre del Maestro portoghese; quel lavoro sul “vento del Tempo che accarezza l’edificio”, che ci fa percepire l’architettura come eroica perché non è ottusamente legata al quotidiano, non è espressione di egocentirsmo adolescenziale, come molta architettura dei nostri giorni (e purtroppo anche di questi luoghi).
"Memorial to Garibaldi in forte Arbutici"
Peluffo, Gianluca
2014-01-01
Abstract
The recovery project of Forte Arbuticci in Caprera by Pietro Carlo Pellegrini, as a memorial to Giuseppe Garibaldi, as narration, history, celebration of belonging: moving around the main buildings, we discover the accuracy of a recovery intervention of the external spaces, which makes us think that that place has always been like this, that those stones are always been there, that those metal railings were designed and positioned somewhere dark and serious officer of the Savoy Military Engineers, inexplicably almost untouched, and what is he doing? understand how the architect chose another dialogue, terribly difficult, but always there characterizes his work, which is the dialogue with Time. We understand this form of dialogue, as the search for an element of belonging to the past, and therefore to the future, to be placed, to be created, to be inserted into an architecture: the missing building of Alvaro Siza's Porto School comes to mind, or the colored ceramic of the Pavilion of Portugal in Lisbon, also by the Portuguese Maestro; that work on the "wind of Time that caresses the building", which makes us perceive architecture as heroic why not it is obtusely linked to everyday life, it is not an expression of adolescent egocentrism, like much architecture of our times (and unfortunately also of these places).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.