Det­ta­glio del pro­get­to ed. 2024

capi­l­­la-de-la-pie­­dad / Uruguay

Leo­nar­do Noguez

Pro­get­ti­sta Capil­la de la piedad
Loca­tion Pun­ta del Este
Nazio­ne Uru­guay
Desi­gn Team

Leo­nar­do Noguez
Rober­to Suarez

Anno 2018
Cre­di­ti Fotografici

Leo­nar­do Finotti

Foto ester­ni

Descri­zio­ne del progetto

When art, land­sca­pe and archi­tec­tu­re come toge­ther, the observer’s aware­ness is pro­jec­ted to unchar­ted ter­ri­to­ry. Unex­pec­ted asso­cia­tions and sur­pri­sing inter­con­nec­tions are made, and chan­ce and unfo­re­seen even­ts ari­se. In view of this, this pro­ject is a uni­que oppor­tu­ni­ty to expe­rien­ce how an archi­tec­tu­ral spa­ce, inte­rac­ting with a work of art as sym­bo­lic as the “Pie­tà” can come to have a, let us say, revea­ling nature.
Archi­tec­tu­re is volun­ta­ry spa­ce, in con­tra­st to natu­re, whe­re order and sha­pe do not bend to man’s will. In order to plan a pro­ject that will stri­ke up a dia­log, as it were, with an artist’s work, one must cast off any sort of volun­ta­ri­sm. To under­stand the artist’s modus ope­ran­di, one must draw on the vita­li­ty of his crea­ti­ve acti­vi­ty. Atchu­gar­ry works direc­tly on his mate­rial; he doesn’t do sket­ches. The mate­rial takes cen­ter sta­ge, right from the begin­ning. Wor­king with mar­ble is a per­ma­nent give and take. The mate­rial lays down its laws, its ratio­na­le, requi­ring the arti­st to con­ti­nual­ly redi­rect his efforts. In the work’s evo­lu­tion, his task is to unveil it, to remo­ve the super­fluous and lea­ve only what’s insi­de, that which only the arti­st can see, and to sud­den­ly make it visi­ble to all. The spa­ce desi­gned must empha­si­ze the mate­rial and have a pure sha­pe with no super­fluous details, as well as a pla­ce­ment that inte­rac­ts with the natu­re that sur­rounds it.
The win­ding, sine wave-like entry path is a pla­ce of tran­si­tion that pre­pa­res the spi­rit for an expe­rien­ce of retreat. Wal­king throu­gh the entran­ce, com­pres­sed by the trian­gu­lar steel door which Pablo was respon­si­ble for and the ascen­ding rid­ge, the entran­ce aims to trig­ger in the visi­tor the sen­sa­tion of being in an expan­ding spa­ce. The aesthe­tics are mini­mal. Eve­ry­thing is mini­mal: mate­rial, gestu­res, geo­me­try. It’s an auste­re atmo­sphe­re, whe­re nothing takes the spo­tlight away from the work, which is bathed in zenith lighting.

Rela­zio­ne illu­stra­ti­va del progetto
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Foto inter­ni

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