It consists of a sequence of rooms illuminated with natural light from above. A closed space, defined by thick reinforced concrete walls, where the immaterial light rains from above and drips down the walls, dissolving on the ground.
It is the timeless light of the museum, from which the dark bronze sculptures emerge, acquiring a particular strength, as if they were protected and revealed at the same time.
The material with which it is built has acquired its own character, becoming something other than simple concrete.
‘Our profession is an old language and it has a grammar‘
‘For me the proportion of a building and its part are crucial. Through my studies of various rules of proportion –the Golden Section, the Triangulum, the Modulor and so on- I have developed my own system of proportion. This cannot by itself guarantee a good building, but it is a vital tool’.
‘What arose was not a total works of art, but rather a work that reflects on the ways in which sculpture and architecture might define each other without glossing over the divide that, since the Renaissance, has separated the two spheres. And this is the significance of the project. La Congiunta is a radical architectural meditation, an assertion that, at best, two sovereign works can encounter each other and achieve a correspondence based on a related stance’.
Peter Märkli
