Ar - Mario Botta: THIRD YEAR B.ARCH (2020-21) Presented By: Siddhi Gangwal Guided By: Prof. Kuldeep Kaur Bhatia

AR.
MARIO BOTTA
THIRD YEAR B.ARCH (2020-21)

Presented by: Siddhi Gangwal
Guided by: Prof. Kuldeep Kaur Bhatia.
HOME / ABOUT HIM /AWARDS /DESIGN STYLE / PHILOSOPHY/ HIS WORK CONTACT
TABLE OF CONTENTS
01 02 03 04
ABOUT HIM AWARDS & PHILOSOPHY HIS WORK

HONOURS
01. AR.MARIO BOTTA
● Born in Mendrisio,Switzerland in 1943.

● He attend the Art College in Milan and then studied at the
University Institute of Architecture in Venice.
● During his time in Venice he has the opportunity to meet
and work for Le Corbusier and Louis I. Kahn.
● Botta designed his first building, a two-family house at
Morbio Superiore in Ticino, at age 16.
TIMELINE
1943 Born in Switzerland, 1982-1987 Member of the Swiss

Mendrisio, on April 1st Federal Commission of
Fine Arts
1965 Work practice at Le 1987 Visiting Professor at the Yale

Corbusier's atelier in School of Architecture New
Venice. Haven, Connecticut
1969 He graduated from the 1976 Visiting professor at the EPFL,

lUAV University of Federal Polytechnic School in
Venice. Then he began Lausanne
with his professional
activity at studio.
TIMELINE
AWARDS
1985-“Beton Architecture
Since 1983 Full professor at the Prize”, Zurich
Federal Polytechnic (Switzerland)
School of Lausanne
1986-“Chicago
2002 Director of the Mendrisio Architecture Award”
Academy of Architecture for
the 2002/03 academic year
1993-“Marble
Since 2008 President of the Jury of Architectural Award”
the BSI Architectural in Carrara (Italy)
Award.
Design Style
FORM MATERIAL CONNOTATION

His design style evolved into Brick is a key material in his All his work has a spiritual
pure, geometric and body of work, used as connotation, through which he
imposing forms. cladding to accentuate the demonstrates the importance of
severity of his designs. architecture as a means of
expression of human memory.
PHILOSOPHY
● The square and circle formation of the pure geometric forms is the basic elements of his architecture.
● He show respect for topographical conditions and regional sensibilities and his designs generally emphasize
craftsmanship and geometric order. Because he attempts to reconcile traditional architectural symbolism with
the aesthetic rules of the Modern Movement.
● His design elements are:
-Modernism
-Symbolism
-Regionalism
-Culture
-Light
-Vernacular material
-Diagonal axis
-Spaces of poetry
-Geometry
-Revive an old Transformation
-Topography
-Social environment
WORKS
01.
Évry Cathedral
Cathedral of the Resurrection
1992-1995
Évry Cathedral
It is dedicated to St.Corbinian
Form
● The cathedral is in the form of a truncated
cylinder, with an inclined roof. The line of the
roof is broken by trees, which gives a
variation of color with the changing seasons.
● The walls are covered with 800,000 bricks

forming geometrical designs.
● The top is crowned with twenty-four lime trees,
symbol of life.
Northwest side – bell tower
● The highest point of the cylinder faces to the

northwest, and presents a series of geometric
forms and symbols from the bottom to the top.
● At the bottom is a hemispherical window with a
design that represents a stylised tree of life.
● Above this are the windows of the National
Center for Sacred Art separated by a vertical
rectangular column that contains a stairway.
● Above this is an oculus window and above it,
attached to the facade, is the metallic bell tower,
containing five bells.
● The bell tower supports the cross above.
Material
● The cathedral exterior gives the impression of
being constructed entirely of brick, but
actually is composed of two cylinders of
reinforced concrete covered with bricks of the
classic construction size.
● The inner cylinder is 29.3 metres (96 ft); the
outer is 38.4 metres (126 ft) The space
between the cylinders is filled with
passageways, staircases and technical spaces.
● The brick of the exterior is designed as a series of horizontal bands, broken by

a small number windows. The bricks are laid in designs that give it a delicate,
lace-like quality.
● Within the interior of the church,

the altar and the choir is located to
the northwest, facing the main
portal to the southeast.
● The nave resembles a theater, with
rows of seats on main floor and
additional seating in two levels of
galleries. It can seat between eight
hundred and one thousand
worshippers.
● The choir is separated from the
nave by six steps up to a platform
where the altar is located. Behind
the altar is a dramatic curving arch
with a modern stained glass
window in light and dark glass,
representing the Tree of Life.
Ceiling and skylights

● In the center of the sloping circular roof is a
three-dimensional triangle of metal tubing,
containing windows and movable glass panels,
making it possible to control the level of
incoming light.
● When the panels are open, the congregation
below can also see the circle of trees around the
roof.
Botta described his nave as "a

primary space held between the
earth and the sky, a place for
meditation, for silence."
02.
Berg Oase
Wellness Centre
Switzerland
2003-2006
Wellness Centre
Nestled in a basin at the foot of the mountain is the Berg Oase
wellness centre – a health spa linked to the five-star luxury
Tschuggen Grand Hotel in the resort village of Arosa.
In the extraordinary setting of Arosa, set in a natural hollow

surrounded by mountains, Bergoase wellness centre at the
Grand Hotel Tschuggen is an unprecedented construction in
which architecture seems to grow out of the mountain, sharing
space with the trees and playing with the bright light of sun and
snow.
Design Concept
● They imagined to build without building, to
assert the presence of the new through the
emergent parts and to leave interred the great
volume with the functional program. The cover
of the hypogeal spaces becomes a stage marked
by geometric vegetal presences that rouse the
visitor curiosity.
● This particular context therefore suggested us an

intriguing solution, of visual impact and, above all, of
great respect for the surrounding village.
● The great volume disappears into the earth; only the
vegetal and, at the same time, mechanical “antennas”
emerge, marking the recreational and collective
character of the structure.
● The inner space appears as a terraced

continuum with the slope to limit the
excavation works
● The different areas of Berg Oase are
characterized by their interrelation.
● And through technological trees that
guarantee natural light and becoming
signals of the internal life at night
through the artificial lighting that gives
to the whole resort a magic atmosphere.
● The external spaces (sauna, solarium,
swimming pool) are reachable directly
from the swimming pools and set on a
attractive terracing, dipped into nature.
● The interior spaces are divided into four

floors.
● The third floor houses the “water world” with
swimming pool to swim and relax, the
toilettes, the relax area, depots.
● The structure is accessible through a glass
walkway from the existing hotel as well as
from the entrance level to the hotel.
Materials
● The building is made of a combination of
Canadian Maple and duke white granite,
used to clad the interior walls, floors
(including the bridge floor), showers and
pool, and also for the stairway.
● Marble and granite treated stone to protect
it from water and chlorine.
● The stone also helps to create an
atmosphere that combines the sanctity of a
temple and that of a mountain cave.
● Canadian maple triangular skylights
provide the optimum level of acoustics
which mute interior noise and encourage
quiet and a feeling of calm.
03.
San Giovanni
Battista
Mogno
1994-1996
Concept
● The interior space is a rectangle inscribed
in an ellipse foreign deforms gradually into
a circle on the deck, leaning in the
direction of short axis of the ellipse.
● The church was built with local stones to
express monumental qualities and enhance
the space’s spiritual qualities.
Structure
● The walls of the church are 2 meters thick,
progressively tapering to 50 centimeters at
the summit.
● The construction technique is based on
tradition. For instance, the stone is not
used as a covering material but as a
structural one.
Roof
● Botta introduced the changing patterns

of light and the relation to the cosmos
through a circular glass roof.
● The sky opens up beyond the glass roof
and brings the worshiper closer to the
Divine.
● Two granite buttresses pierce the
building’s envelope, arch over the
interior, and create an axis that aligns
with the nave’s axis of the old historic
church.
Material
● A wall facing is made up of white and

black cubes arranged in a checkerboard
pattern
● The architect uses a dry-laid stone building
technique in which blocks with cavities are
filled with cement. The church was built
with local stones.
● Both the walls and floors are made of stone
blocks in alternative filadas granite and
marble.
● The casing is made of glass, supported by a
metal structure with wood and black steel
04.
The Synagogue and

Jewish Heritage Center
Israel
1996-1998
Structure
● The structure is formed by a one-storey
high rectangular base , where he positions
the reception atrium.
● Within this rectangle, two square rooms ,
about 17 meters wide , are symmetrically
inserted .
● One will be the synagogue and the other
the conference room, both with an entrance
that allows one to look at the other, making
the two spaces, secular and religious, more
fluid and communicating.
Structure
● The volumes of the two rooms rise beyond
the base, but do not maintain their square
shape.
● As they rise upwards, the walls of the two
rooms become curved from straight, until
they become totally circular at the top, at a
height of 13.5 m.
Roof
● The roof, however, remains square like the
base perimeter: four empty lunettes are
created from which the light can enter in.
● A square inscribed in the circle, but which at

the same time flows into the circle: a not
random choice (and not even rare in sacred
architecture) as the square refers to the
earthly dimension , while the circle to the
divine one .
● This is why the square is the basic perimeter
of the rooms, while the circle is the perimeter
on the roof, which tends almost to the sky.
Material
● Although the supporting structure is made of
concrete, the latter is never left exposed.
● The external cladding is in Verona stone ,
while the internal one in Tuscan golden stone .
● The ceiling is in light wood, while the floor is
in black granite
CONTACT
RESOURCES
https://www.floornature.com/mario-botta-13373/#
https://swissarchitecturalaward.com/en/editions/2019-2020/jury/profiles/mario-botta/
https://thearchiblog.com/tag/switzerland/
https://en.wikiarquitectura.com/building/church-of-san-juan-bautista/#
https://en.wikipedia.org/wiki/%C3%89vry_Cathedral
https://cathedrale-evry.net/textes/english.htm
https://www.architonic.com/en/project/mario-botta-wellness-centre-tschuggen-bergoase-/5100643
https://archeyes.com/san-giovanni-battista-church-in-switzerland-mario-botta/
CONTACT
THANKS!
Siddhi Gangwal
Guided by Prof. K.K.Bhatia
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AR.

THIRD YEAR B.ARCH (2020-21)

ABOUT HIM AWARDS & PHILOSOPHY HIS WORK

01. AR.MARIO BOTTA

● Born in Mendrisio,Switzerland in 1943.

1943 Born in Switzerland, 1982-1987 Member of the Swiss

1965 Work practice at Le 1987 Visiting Professor at the Yale

1969 He graduated from the 1976 Visiting professor at the EPFL,

FORM MATERIAL CONNOTATION

● The walls are covered with 800,000 bricks

Northwest side – bell tower

● The highest point of the cylinder faces to the

● The brick of the exterior is designed as a series of horizontal bands, broken by

● Within the interior of the church,

Ceiling and skylights

Botta described his nave as "a

In the extraordinary setting of Arosa, set in a natural hollow

● This particular context therefore suggested us an

● The inner space appears as a terraced

● The interior spaces are divided into four

● Botta introduced the changing patterns

● A wall facing is made up of white and

The Synagogue and

● A square inscribed in the circle, but which at

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