096 LA SCALA


and new dressing rooms, the fly tower was 7m higher, and by digging 14m below the stage La Scala has obtained additional space as well as greater flexibility, and an adjacent Teatre Museum was renovated as part of the project. Botta’s surprisingly huge and coherent series of additions really work. He has pulled off the trick. Te fat lady sang.


Compared to the mismanaged modernisation of the Royal Opera House in London, which cost an extraordinary £400m (more than three times the price of rebuilding La Fenice in Venice), this was little short of a triumph. For Botta, as he was quoted saying last year, ‘architecture is always a sacred act,


Below The renovation and enlargement emerged on time and on budget, at around £100m


because it transforms nature and it represents our entire world. Te architecture of sacred spaces is very close to the architecture of theatres or museums.’ Absolutely. Botta is now 80. His work defies simple classification. He appears indifferent to style. Te buildings are always dignified. Tey have grace. Tey can be sombre. Tere can be a touch of the austere. Tere are always subtle relationships. Tere is pure geometric manipulation. Tey will be formal. Tere may be hints at historicism. His urban structures may be very powerful, but they must always relate to their surroundings. Tere is often a lot of texture. He will always epitomise less is


Botta’s


surprisingly huge and


coherent series of additions really work. He has pulled off the trick


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