Mario Botta details La Scala makeover for the NYT
The work has been about creating a dialogue between the 18th century and modernity. This theater was born as a space to create dreams, illusions, adventures. It’s still a place of collective imagination. But to effectively make it work today, it needed to be much more flexible and capable than what existed in the 1700s. It had run out of space to perform effectively. We’ve created a series of elements designed to make the theater function for the 2000s.The Swiss architect began his two-phase restoration in January 2002. It has been the subject of controversy since that time, owing to its scale and derivation from the city council tender approvals process. The project highlights the delicate line between preservation and the ambits of a figure such as Botta, whose deference to the past has always been expressed in materials such as terra cotta and Botticino marble. To that score, Botta says his approach to design has evolved to be a sort of commentary on the "confrontation between times [...] A collage of different language," adding we’ve "lost the capacity to express the true value of architecture." "I find that architecture is always a sacred act, because it transforms nature and it represents our entire world," he states at the end of the NYT interview. "The architecture of sacred spaces is very close to the architecture of theaters or museums. You’re trying to create a type of value and strength. You’re attempting to embody a ...
The work has been about creating a dialogue between the 18th century and modernity. This theater was born as a space to create dreams, illusions, adventures. It’s still a place of collective imagination. But to effectively make it work today, it needed to be much more flexible and capable than what existed in the 1700s. It had run out of space to perform effectively. We’ve created a series of elements designed to make the theater function for the 2000s.
The Swiss architect began his two-phase restoration in January 2002. It has been the subject of controversy since that time, owing to its scale and derivation from the city council tender approvals process. The project highlights the delicate line between preservation and the ambits of a figure such as Botta, whose deference to the past has always been expressed in materials such as terra cotta and Botticino marble.
To that score, Botta says his approach to design has evolved to be a sort of commentary on the "confrontation between times [...] A collage of different language," adding we’ve "lost the capacity to express the true value of architecture."
"I find that architecture is always a sacred act, because it transforms nature and it represents our entire world," he states at the end of the NYT interview. "The architecture of sacred spaces is very close to the architecture of theaters or museums. You’re trying to create a type of value and strength. You’re attempting to embody a ...
