Progetto Project
Angelo Mangiarotti, Bruno Morassutti e Aldo Favini
Progetto di restauro Restoration project
Committente Client
Giulio Barazzetta, Sergio Gianoli SBG Architetti
Parrocchia Nostra
Signora della Misericordia, Baranzate
Impresa generale General contractor Seregni Costruzioni srl
SISTEMA AMBIENTALE SPATIAL SYSTEM
Contesto insediativo Settlement context Urbano Urban
Destinazione Intended use Restauro edificio di culto Restoration of a building of religious worship
SISTEMA TECNOLOGICO TECHNOLOGICAL SYSTEM
Categoria dell’intervento Category of intervention Ristrutturazione Restoration
Tecnica costruttiva Construction technique Prefabbricata Prefabricated
Applicazione Application
Ambienti Settings
Pavimentazione interna Internal flooring
Aula liturgica, cripta Liturgical room, crypt
Tipologia di posa Type of installation A tutto ambiente
Materiali ceramici Ceramic materials Gresplus
Cotto Cerato, Cotto Ramato, 14x28 e 28x28 cm
Superfici Surfaces 800 mq 800 sq.m
Ph: Marco Introini, Corrado Ravazzini
Our Lady of Mercy Parish Church, Baranzate
Throughout the environment
This church dedicated to Our Lady of Mercy was built between 1956 and 1958 in Baranzate, north-west of Milan. Now, after a long and passionate restoration, it has returned to its splendour. This project by Angelo Mangiarotti, Bruno Morassutti and Aldo Favini is considered a masterpiece of modern Italian architecture, and has marked a turning point in the constructive and figurative methods for buildings of religious worship in Italy. The skilful use of materials that paved the way to the modernist revolution, such as concrete, steel, and glass, the consistency and appropriateness with which they were combined, and the mastery of the techniques – aiming at the result of the composition rather than at the pleasure of artifice – have led to the creation of a building that could go beyond its age. In fact, it still stands out for the originality and innovation of its prestressed reinforced concrete roof and its iconic translucent glass envelope. The restoration was a story within the story, given the long time required and the scrupulous attention with which it was carried out between “reading” the original and “re-writing” it where necessary. After being listed in 2003, the restoration project was drawn up by Morassutti in collaboration with Giulio Barazzetta from SBG architetti. After Morassutti had died, the project was led to completion by Barazzetta, who involved different competencies in an integrated planning process. The restoration aimed at restoring the original appearance of the building – inaugurated back in November 1958 – and adapting it to new performance and comfort requirements. This approach has led to the reinterpretation of the building by the authors and the other designers they selected. This particular condition redefines the idea of restoration. This meant the conservation of the entire structure of the building with the transformations imposed by the irrecoverable degradation caused by wear and other circumstances. Where possible, parts and elements were replaced and systems, services and new spaces added where the project allowed so. All this within the existing building. New spaces were obtained in the previously unused area of the crypt. The heating, air handling, electrical, and lighting systems reflect the existing ones, using the floor slab and ventilation space reinforcement and insulation to house them. The new envelope cladding is the result of a patient and accurate selection to identify new materials that mimic the original in the pursuit of a sensitive appearance that evokes the effects of the original façade without the insulation. A creation brightened up by light enhanced by the layering and characteristics of the glass. All this had to be carefully balanced with the materials to obtain constantly varied, multifaceted and multiform reflection, refraction, and opalescence. The flooring was made of porcelain stoneware tiles of current production but with modular dimensions (14x28 cm), which hint at those of the building. The surface finish and colours of the tiles are very similar to those of the original brick red cotto tiles, with an uneven shade that balances the predominant blue-green colour of the light filtered through the envelope’s glazing. The new lighting was inspired by archive images as well as by the perception of the authors, their collaborators, and the first users of the church. To this end, the original play of daylight was maintained and the play of the night lighting, which was no longer existent for a long time, restored.
58
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180 |
Page 181 |
Page 182 |
Page 183 |
Page 184 |
Page 185 |
Page 186 |
Page 187 |
Page 188
