commitment and effort , we were able to convince the Town Council and the client that the building was not only mimetic , but it also acted as an environmental sculpture . Depending on the light or the point of view , the structure disappears . When the sun shines on the two long walls of the building , one covered with natural aluminium , the other with green aluminium , an iridescent butterfly-wings effect is obtained . An effect that does not enhance the colour , but the coloured light that is reflected . This building too is fascinating , because the artificial object takes on the mutant characteristics of a natural element . Like Boullée , I do not believe in architecture that figuratively imitates nature , even though with Salewa we have come very close to it , but I believe that architecture makes use of what nature offers in its effects , not in its forms .
The landscape projects , as in San Donà di Piave and Lugano are focussed on sewing together human intervention and the relation between artificial / natural light . Could you explain this in greater detail ? With regard to the relation between
Magazzino automatizzato Pedrali / Pedrali Automated Warehouse , Mornico al Serio ( BG ), 2017 Parco pubblico / Public park , San Donà di Piave ( VE ), 2004-2007
to obtain some very theatrical light effects , due to regulatory aspects regarding safety , it was not possible . I believe that an architect is like a cinema director , he must know enough about light in order to talk to his director of photography , and explain his ideas . I know about lux and luminance , however with LED technology the matter has become so complex that the sophisticated knowledge of a lighting designer is required . In some cases , I use my knowledge to determine a particular effect and perhaps rather empirically I am able to obtain it . In other more complex projects the intervention of a lighting professional is required . After all , I am like a General Practitioner who reaches a certain point and then asks for the help of specialists , with humility , but having the know-how that allows me to discuss the work as equals . natural / artificial light two quotes come to my mind : the first by Le Corbusier ; the second by Gio Ponti , “ architecture in the past was a game of full and empty spaces under the light ” ( Gio Ponti , In praise of architecture , 1957 , Ed .). We contemporary architects have passed from a culture of plastic architecture , where the shade was a principal effect , to one of the skin , where the advent of electricity has led to an overturning of full / empty spaces as in Mendelsohn . Artificial lighting offers an infinite number of possibilities , the more there are the greater amount of control is required . The relation between natural / artificial is a very interesting topic , the moment of transition of the two , like a test , has always fascinated me . Twilight in the city is a delicate moment , of passing from one to the other , and for a short while they coexist simultaneously , I find these very fascinating moments . I have patented San Donà di Piave as the first suntanning project , with white stone covering the pathways and hills that reflect the sunlight .
In Lugano there is a play of effects , it marks the passage from the dark tunnel to the light outside . We used a simple technology , which however had a very sophisticated tracking of the gradient of the screen structure .
Is lighting in the buildings designed and planned internally or is the work given to a lighting designers ? If so , what relations are there with them ? Over the years I have collaborated with various lighting designers , but mainly with Piero Castiglioni . A lighting designer cannot always be afforded , it also depends greatly on the client . Sometimes the specific competence of a lighting designer is necessary , in other cases we collaborate with the lighting systems engineer . Nowadays , even though I agree , the compulsory certification becomes a very binding requirement , if not an obsession that inhibits project development . Take for example the internal staircase at Lavazza , where I wanted
What do you think of urban lighting in our cities ? First of all , there is the very important topic of urban security lighting . For example , the Dutch landscape architect Petra Blaisse , who is working at the Porta Nuova Park project in Milan , has had to partly modify the project because everything must be panoptic and anti-violence , but also anti-kissing . I would like a lighting control plan for the city , even though I understand that not everything can be governed . Like some excessively kitsch projects , as for example the lighting at the Castello Sforzesco some years ago . Urban lighting is a delicate topic , where it is important to understand when to speak and when to keep quiet .
Some ideas for your future projects ? There are many . Some that are initially for a project can easily be used in another , ideas come one after another constantly . During these past months I have been taking my first steps in the world of lighting design . We are working on a project to make architecture and design act together . This is not an easy task , but ideas are constantly moving and we will find a solution .
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