piero cadeo

piero cadeo

Brescia, IT


centro studi dell'istituto paolo VI


The new center of the Paul VI STUDIES is designed to accommodate the activities under the Work for Christian Education. It includes, along with an auditorium for 250 people, new places is the Paul VI and the Museum of Art and Spirituality, all places of study, depth, distribution and discussion on major topics of the teaching of Pope Montini and to witness the special relationship that the Pope had to engage with artists and contemporary art.
In preparing the draft of the new Research Center, the first requirement appeared to seek a body that is anchored to a particular place (the Birthplace of Pope Paul VI, with its relevance, which leads up to the great orchard Mount), and that while out explicitly, with the severity of the lines and sophisticated simplicity, a sense of solidity and concreteness, in continuity with the values and the institution of the late Pontiff who start up a pass intended for the teaching .
The benchmarks of a good design, as always, are those of an 'architecture well joined the existing environment, able to maintain a precise identifiability and consistency over time. The result should be that of an architecture-related context: the building is divided into three different buildings unified by common courtyard that opens and views over the birthplace of the Pope and at the same time, through large glazed openings to be charged on two opposite sides of the museum, suggests the mountain, the same mountain so familiar to Pope teenager.
The other outer openings are gradually different, in that not only appropriately sized according to their specific destinations in the interior, but also because of the exploitation of vanishing points outside the most significant. The house in the hill and talk with the new buildings, as buildings recall the Birthplace and neck: the Institute, with its offshoot / "office" with small vertical openings, the Auditorium, with the chinks of light placed symmetrically on the bottom of the room, and so on.
Natural light indicates the importance of the sensory and perceptual, a key to interpretation of reality and always an investigative tool of human existence.
Penetrating the thickness of the cortex of stone body, the visitor is immersed in a sequence of spaces moved by the flow of natural light from the different quality.
  The study insolation during the day led the orientation of the building museum in order to optimize the brightness of the display rooms: These have direct illumination on the morning and one on the night, while in ' course of the day, the timetable deputy to itineraries of visitors, are lit indirectly, and have easy conversation with the surrounding natural environment.
Moreover, the exhibition halls are characterized by an extremely linear trend (and modular to allow aggregations of the most diverse artistic themes). He wanted to avoid an architectural space too expressive interfere with the works on display: it is always essential to allow the works of art themselves to be always on top.
Conversely, the controguscio curved to the left of the entrance, adjacent to the hall of the auditorium, it tapers in both width and height: the light penetrates from above as thin blade to follow the path of the sun, whose rays are common in 'medium according to the inclinations of the different hours and the different seasons.
Composition for large vertical surfaces remains prevalent than the clarification of any detail. The oceans of flowing decided to follow the geometry of the building, and interact with the environment by means of the sandstone of Santafiora, warm colors and soft rock likely to integrate into the landscape. The light touches the stone, keeping the necessary fluidity to the stone can be perceived as generating a continuous space.
The junction between the volumes as they are captures from the entry is chosen, it was given special consideration. Where one would expect the main facade, we are faced with a vertical section, just softened on the performance of the curved body of the auditorium. There are read masses of two of the three main bodies of the organism, the Museum Auditorium, while in the background outlining the smooth flow of the third body, the Institute for Paul VI.
The metal and glass canopy linking the volumes, and becomes itself almost "inner space" of reception. His extreme offshoot escaping from a junction between the two bodies of the museum and the auditorium and advances toward the visitor, so that - through a narrow passage deliberately - Collect call in progress to discover not only the space characteristic of the vast inner courtyard but also - symbolically - the breadth of thought, intuition and sensitivity of Pope Paul VI.


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Status: Built
Location: concesio - brescia - italy

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