Nicola Navone
Universita' della Svizzera Italiana, Accademia di architettura - Archivio del Moderno, Deputy Director, Archivio del Moderno; Lecturer, Accademia di architettura
Nicola Navone (Lugano, Switzerland, 1967), architect, PhD, is deputy director of the Archivio del Moderno. He teaches at the Accademia di architettura di Mendrisio, Università della Svizzera Italiana, and is a member of the Collegio del Dottorato (PhD) “Architettura. Innovazione e Patrimonio / Architecture. Innovation and Heritage”, Università degli Studi di Roma Tre. His research focuses on three subjects: the reconstruction and analysis of networks of family and professional relationships of Ticinese architects, viewed in different geographical contexts and historical periods, from the professional beginnings of Domenico Fontana to the family origins of Francesco Borromini, down to the interactions between Ticinese architects and craftsmen working in Russia; the role of architects and craftsmen from Ticino in transferring and disseminating Italian architectural culture in Russia from the early eighteenth century until the mid-nineteenth century, a subject area to which he has devoted numerous publications; the crystallization of a contemporary, internationally recognized Ticinese architecture, a subject which is the focus of his courses at the Accademia di architettura and his work as a visiting professor at the Università IUAV in Venice (March-May 2013).
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Papers by Nicola Navone
following the design by Raffaele Cavadini, and the chapel realised in Val Malvaglia
(2017-2019) by Martino Pedrozzi. Since it is not possible here to fill the gap
in critical studies on the sacred architecture in Ticino since the second half of the
20th century – except for two well-known works by Mario Botta: the church of San
Giovanni Battista in Mogno, Val Lavizzara (1986-1996) and the chapel of Santa Maria
degli Angeli on Monte Tamaro (1990-1996) –, we have chosen to focus on these
two works because of the consistency of their design strategy and the quality of
their results. But if the Brissago oratory was created in the mould of the experiences
developed in Ticino since the 1960s (although it in part has an original perspective),
the chapel in Val Malvaglia, conceived by an architect from the next generation,
introduces a new approach, manifesting the liveliness of the architectural
research in contemporary Ticino.
following the design by Raffaele Cavadini, and the chapel realised in Val Malvaglia
(2017-2019) by Martino Pedrozzi. Since it is not possible here to fill the gap
in critical studies on the sacred architecture in Ticino since the second half of the
20th century – except for two well-known works by Mario Botta: the church of San
Giovanni Battista in Mogno, Val Lavizzara (1986-1996) and the chapel of Santa Maria
degli Angeli on Monte Tamaro (1990-1996) –, we have chosen to focus on these
two works because of the consistency of their design strategy and the quality of
their results. But if the Brissago oratory was created in the mould of the experiences
developed in Ticino since the 1960s (although it in part has an original perspective),
the chapel in Val Malvaglia, conceived by an architect from the next generation,
introduces a new approach, manifesting the liveliness of the architectural
research in contemporary Ticino.
Attraverso i continui cambi di punti di vista (le fotografie costellano il libro anche al di fuori del portfolio), che fanno pensare più a certo cinema o letteratura o addirittura musica che non al razionalismo severo che impronta l’architettura descritta, prendono forma, intorno alla casa, incroci di storia e geografia, tecnica e botanica e un racconto di persone, di mestieri. Protagonista, oltre alla casa, è la relazione disarmonica tra un padre (Giuseppe Roncati), ingegnere prestato all’architettura e una figlia: Flora Ruchat-Roncati (1937-2012), una delle più rilevanti e innovative progettiste della storia recente, prima donna a ricoprire il ruolo di professore ordinario presso il Politecnico di Zurigo (dal 1985 al 2002).
Figura marginale ma ineludibile, simbolo della svolta generazionale e feticcio è Le Corbusier e con lui la Petite maison di Corseaux che il grande architetto progettò e costruì per i propri genitori negli anni 1923-1924.
Lo sguardo di un giovane fotografo sulla casa determina la sintassi del libro legando in un’unica narrazione racconti, saggi e disegni.
This book narrates the life of a house-dock (a single-family summer residence overlooking Lake Lugano) in Brusino, Switzerland, a few dozen metres from the Italian border, from its gestation in the late 1950s to its present maturity. The story is told in narrative and stylistic islands: an initial part consisting of three short stories and a poem is followed by a historical/technical fact sheet on the building and its genesis, then a central part with a portfolio of photographs, and finally an essay on the defining figure of Giuseppe Roncati (a civil engineer who grew up in Italy but was of Swiss origin, and graduated from the Milan Polytechnic in 1928).
Through the constant changes of viewpoints (photographs also punctuate the book outside the portfolio), which make one think more of certain cinema or literature or even music than of the severe rationalism that stamps the architecture described, intersections of history and geography, technique and botany take shape around the house, as well as a tale of people and trades. The protagonist, in addition to the house, is the disharmonious relationship between a father (Giuseppe Roncati), an engineer lent to architecture, and a daughter: Flora Ruchat-Roncati (1937-2012), one of the most important and innovative designers in recent history, the first woman to hold the position of full professor at the Zurich Polytechnic (from 1985 to 2002).
A marginal but inescapable figure, symbol of the generational turning point and fetish is Le Corbusier and with him the Petite maison in Corseaux that the great architect designed and built for his parents in the years 1923-1924.
The gaze of a young photographer on the house determines the syntax of the book, binding stories, essays and drawings into a single narrative.
Parte di una rete di capitali rispondenti a un unico potere centrale – politico e culturale –, Milano rappresenta un osservatorio privilegiato per l’indagine delle molteplici forme di organizzazione del lavoro artigianale e artistico, nonché della circolazione di uomini e di materiali, in quanto, nel periodo in esame, conosce un momento di significativo incentivo dei cantieri architettonici pubblici e privati e di trasformazione degli spazi urbani. In prospettiva comparatistica, il seminario intende mettere a confronto quanto si osserva nella città lombarda con altre città del territorio italiano ed europeo, riservando particolare attenzione ai rapporti tra Milano e il Ticino e alle mutazioni che questo secolare legame subisce nel tempo.