- Architect, PhD, Independent Researcher, www.tinogrisiarchitetto.comedit
Se l’architettura per il culto trova legittimazione nel veritiero rapporto con la liturgia, ha pur bisogno di una propria, efficace argomentazione fondante. Questo nuovo dizionario, dal contenuto discontinuo, scritto e disegnato,... more
Se l’architettura per il culto trova legittimazione nel veritiero rapporto con la liturgia, ha pur bisogno di una propria, efficace argomentazione fondante. Questo nuovo dizionario, dal contenuto discontinuo, scritto e disegnato, rappresenta uno strumento adeguato capace di svelare la condizione architettonica della chiesa.
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The conscious relationship between the architectural project of churches and its purpose shows the passage leading, from liturgical theology and through the constitution of an aesthetics, to the design of space aimed to sacramental... more
The conscious relationship between the architectural project of churches and its purpose shows the passage leading, from liturgical theology and through the constitution of an aesthetics, to the design of space aimed to sacramental gesture and further on, to the expression of the escathological condition of the rite. In the spiritual unity of the community directing its prayer from Christ, in the Holy Spirit, to the Father, the liturgical action is truly shared and opens to the mystery which is fulfilled there.
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The first complete and originally illustrated monograph of the master builder of churches Emil Steffann (1899-1968), whose built architecture consists, in the short time between 1950 and early Sixties, in the very considerable number of... more
The first complete and originally illustrated monograph of the master builder of churches Emil Steffann (1899-1968), whose built architecture consists, in the short time between 1950 and early Sixties, in the very considerable number of thirty-nine churches, representing an emblematic case-study of Christian worship’s buildings design, able to show its liturgical, aesthetic and morphological founding principles.
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Offrire il libero percorso tra opere pittoriche, scultoree e di architettura che esprimono l'orizzonte eterno del Cristianesimo durante il breve tratto dell'ultimo secolo e mezzo, proprio nel momento in cui viviamo una costrizione... more
Offrire il libero percorso tra opere pittoriche, scultoree e di architettura che esprimono l'orizzonte eterno del Cristianesimo durante il breve tratto dell'ultimo secolo e mezzo, proprio nel momento in cui viviamo una costrizione angosciante, è un penetrare, di nuovo, nella contrapposizione creativa per cui "il più bello tra gli uomini" ha il "volto sfigurato dal dolore". Se compito della Chiesa è far intravvedere una realtà superiore e migliore, le opere artistiche che ha prodotto non esprimono un vago concetto d'armonia, bensì la conoscenza della bellezza lacerante di Cristo. Queste icone sperimentano, nel proprio tempo e nello spazio universale, l'avvenire e, come noi ora siamo spronati a fare, non assumono la fede come mera informazione, ma si aprono speranzose alla notizia dello Spirito.
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The effort, applied to design of buildings for Catholic worship, lavished by Rudolf Schwarz, has few equals. Examples of this fascinating architectural production are the subject of this study. The search for an anti-conceptual... more
The effort, applied to design of buildings for Catholic worship, lavished by Rudolf
Schwarz, has few equals. Examples of this fascinating architectural production are the subject
of this study. The search for an anti-conceptual figurativeness distinguished Schwarz
from any rationalist or functionalist trend: we can identify groups of figures, and within
each of them, associate examples of churches as similar realities of the same matrix. We
propose a subdivision in five distinct categories, according to the planimetric layout and
design features. In the figures defined as suspended the surfaces represent the capsular
boundary of a space built by columns. Longitudinal figures are the image of a space that
orients the congregation along the path disclosed by Trinitarian inspiration. Continuous
figures appear as portions of encircling and oriented space. The open figures are derived
from a cross-shaped matrix. Porous figures shape themselves as a linear item superimposed
on a plinth.
Schwarz, has few equals. Examples of this fascinating architectural production are the subject
of this study. The search for an anti-conceptual figurativeness distinguished Schwarz
from any rationalist or functionalist trend: we can identify groups of figures, and within
each of them, associate examples of churches as similar realities of the same matrix. We
propose a subdivision in five distinct categories, according to the planimetric layout and
design features. In the figures defined as suspended the surfaces represent the capsular
boundary of a space built by columns. Longitudinal figures are the image of a space that
orients the congregation along the path disclosed by Trinitarian inspiration. Continuous
figures appear as portions of encircling and oriented space. The open figures are derived
from a cross-shaped matrix. Porous figures shape themselves as a linear item superimposed
on a plinth.
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The project is based on the exposure of Blessed Sacrament in the city. As well as it happens during the Corpus Christi procession, the monstrance is placed under a canopy shaped by four, freely leaning, vertical supports and a golden... more
The project is based on the exposure of Blessed Sacrament in the city. As well as it happens during the Corpus Christi procession, the monstrance is placed under a canopy shaped by four, freely leaning, vertical supports and a golden surface wich melts into air. The canopy founds the place of worship wich is designed like a wrapper, expressing the meaning of walking, seeing and staying where profane meets the living temple: his dwelling among us.
The faceted shelter, made by painted wood panels, is crossed by thin metal pillars: walls, floor and the roof are linked without interruption, while the space is temporarily closed by brushed aluminium surfaces and yellow bronze glass screens, which let gleam through, from the front, the image of Sacrament and wrap it by light inside. In opposition, a little window orients itself to the host.
The plan is loosely structured, giving the availability to turn, sit and kneel from different points and sectors for a personal prayer or to gather as a small assembly for celebrations. A service space is added to the needs of the celebrants preparation and the ambient maintenance.
The faceted shelter, made by painted wood panels, is crossed by thin metal pillars: walls, floor and the roof are linked without interruption, while the space is temporarily closed by brushed aluminium surfaces and yellow bronze glass screens, which let gleam through, from the front, the image of Sacrament and wrap it by light inside. In opposition, a little window orients itself to the host.
The plan is loosely structured, giving the availability to turn, sit and kneel from different points and sectors for a personal prayer or to gather as a small assembly for celebrations. A service space is added to the needs of the celebrants preparation and the ambient maintenance.
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Theme of this paper is the form of 20th century’s architecture for Catholic worship, before the Second Vatican Council, in some european Countries. We don’t talk about a typical modern church, wich is referred to an ideological program, a... more
Theme of this paper is the form of 20th century’s architecture for Catholic worship, before the Second Vatican Council, in some european Countries. We don’t talk about a typical modern church, wich is referred to an ideological program, a rule of expression or, simply, to a supposed historical evolution, but we read, in an objective and focused way, the process that the building of worship space makes, in the modernity, its relationship with liturgical act explicit. The text aims to show as much as is necessary to know the nature and the history of what we are called up to study and conceive. It is a way among buildings by admirable, passionate, and often unsung architects, which fully express the timeless need of an architecture that arranges fundamental signs do not requiring additional themes, because, in it, the constructive action reminds the originating structure and the symbol is inherent in the matter itself, shaped by spirit.
Research Interests: Modern Architecture, Church architecture, Sacred Architecture, Le Corbusier, Liturgia, and 11 moreRonchamp Chapel, Emil Steffann, Rudolf Schwarz, Dominikus Böhm, Giuseppe Terragni, Architettura Per La Liturgia, Cesare Cattaneo, Paniconi e Pediconi, Glauco Gresleri, Alexander von Branca, and Chiesa di vetro
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The modification / transformation / destruction of the church buildings is a reality which went a long way. Discontinuities, suppressions, wars have constantly changed appearance and use of Christian buildings in Europe, for a while, but... more
The modification / transformation / destruction of the church buildings is a reality which went a long way. Discontinuities, suppressions, wars have constantly changed appearance and use of Christian buildings in Europe, for a while, but often irreversibly. The indifference towards church architecture seems today more dramatic because it concerns, first of all, recent architectures, built in the second half of last century: an idea of modernity of the sacred building is, in a way, shaken and questioned.
We experience that the profanization ritual in fact does not annul the sacredness of the building and hence is not able to turn it into something like ritual waste which can unproblematically be demolished or used in any way one considers appropriate. The church cannot be evaluated by functional standards; however, we can establish a quantitative parameter because of the kind of spatial proximity that can be created between people, according to a set of simultaneous places close oneto each other and which the inhabitants freely cross.
A church-exit strategy does not involve its architectural properties denial, but it can provide for their physical-metaphorical transfer. A spatial modification protocol by properties interplay is an “active form” managing a set of “object forms”: it means to establish a topogenetic relationship between object attitude (performative) and process manner (perceptive), both interacting with the sorrounding enviroment.
Conservation and grafting become ways to link the story of the building to city's narration: we have to tell the special beeing of this place, so a new space order can spring from its constant topogenetic character.
We experience that the profanization ritual in fact does not annul the sacredness of the building and hence is not able to turn it into something like ritual waste which can unproblematically be demolished or used in any way one considers appropriate. The church cannot be evaluated by functional standards; however, we can establish a quantitative parameter because of the kind of spatial proximity that can be created between people, according to a set of simultaneous places close oneto each other and which the inhabitants freely cross.
A church-exit strategy does not involve its architectural properties denial, but it can provide for their physical-metaphorical transfer. A spatial modification protocol by properties interplay is an “active form” managing a set of “object forms”: it means to establish a topogenetic relationship between object attitude (performative) and process manner (perceptive), both interacting with the sorrounding enviroment.
Conservation and grafting become ways to link the story of the building to city's narration: we have to tell the special beeing of this place, so a new space order can spring from its constant topogenetic character.
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national report on the architecture of contemporary churches in Italy. Results and processes.
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Church for the Future is a parabolic architecture related to the Creation of the world. It bears witness and supports opportunities to a Christian space of evangelization and liturgy in current urban life and our divided society,... more
Church for the Future is a parabolic architecture related to the Creation of the world. It bears witness and supports opportunities to a Christian space of evangelization and liturgy in current urban life and our divided society, symbolizing a care for environment. Its plan is completely new and recalls the shape of a pseudo-labyrinth, in which there are no lost steps or blind doors, but only the freedom to move, feel and meditate. The building consists of bands of open or enclosed spaces that lead to its silent heart. An informal garden (Paradise, the Earth), a glazed gallery with baptismal pools (Illuminatorium, the Water), a concrete shelter punctuated by candles (Meditatorium, the Fire) and, finally, the Sanctuary hollowed out and brought to life by the Air, give shape to the spatial network of symbolic rooms, an architecture of sacramental connections that evolves through the act of worship. Such stuff as dreams are made on, the continous presence of the Spirit generates the people’s approach and service to Creation.
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Una particolare e profonda relazione prossemica e simbolica tra i poli liturgici e con l'assemblea s'instaura nel modello cosiddetto dello " spazio di comunione " di cui il progetto qui illustrato rappresenta una rilevante declinazione,... more
Una particolare e profonda relazione prossemica e simbolica tra i poli liturgici e con l'assemblea s'instaura nel modello cosiddetto dello " spazio di comunione " di cui il progetto qui illustrato rappresenta una rilevante declinazione, ispirata ad analoghi esempi realizzati nonché riportati dalla letteratura sullo spazio liturgico, e legata alla particolare struttura architettonica della cattedrale di Cuneo.
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The project is based on the biblical idea of "exodus". We have thinked to a whole symbolic memorial that goes beyond the individual martyr to express a sense of universal mercy. People can walk along the site and feel the sense of a... more
The project is based on the biblical idea of "exodus".
We have thinked to a whole symbolic memorial that goes beyond the individual martyr to express a sense of universal mercy. People can walk along the site and feel the sense of a symbolic voyage; the repetition and the change of the elements insert the temporal dimension in the space and create a sense of dramatic expectation.
We propose the use of just one material: glass, that reveals the means by his reaction to light. All the symbolic system is based on three steps: death - conversion - re/birth, that have to be read like a space-time narration from north to south, from town to river.
https://divisare.com/projects/133919-tino-grisi-memoriale-della-deportazione-degli-ebrei-della-citta-alla-grossmarkthalle-di-francoforte
We have thinked to a whole symbolic memorial that goes beyond the individual martyr to express a sense of universal mercy. People can walk along the site and feel the sense of a symbolic voyage; the repetition and the change of the elements insert the temporal dimension in the space and create a sense of dramatic expectation.
We propose the use of just one material: glass, that reveals the means by his reaction to light. All the symbolic system is based on three steps: death - conversion - re/birth, that have to be read like a space-time narration from north to south, from town to river.
https://divisare.com/projects/133919-tino-grisi-memoriale-della-deportazione-degli-ebrei-della-citta-alla-grossmarkthalle-di-francoforte
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To mark the fiftieth anniversary of Emil Steffann’s death later this month, the Chair of Architectural History of RWTH Aachen University and the association „Dialograum Kreuzung an St. Helena“ invite you to an evening of lectures, right... more
To mark the fiftieth anniversary of Emil Steffann’s death later this month, the Chair of Architectural History of RWTH Aachen University and the association „Dialograum Kreuzung an St. Helena“ invite you to an evening of lectures, right in the church of St. Helena, Bonn, built at the beginning of the 1960s by Steffann himself and Nikolaus Rosiny.
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50 years ago, on July 23rd 1968, Emil Steffann died: we remember him by means of a visual tribute to his architectural work.