I want to modernize the ancient. I prefer to work with materials formed naturally over thousands of years.
Artificial light is used because you can control it better. Technically, it is more homogeneous, more delicate, and less damaging to artwork. But I think it's interesting when the visitor can see variations in the light, when it is not only technical or suitable.
There's no point in us designing synthetic laboratories that could just as well be in Dusseldorf or Helsinki. San Francisco has its light, which must be used.
There is great mystery in a church. For me, there is a great privilege to be confronted with the design of a church because it shelters the most powerful themes of humanity: birth, marriage, death.
Buildings in modern cities have lost their metaphoric aspect. Much contemporary architecture is very fragmented and busy on the outside. It's like a skin or a skull, but you don't know what's inside.
In 1996, I took advantage of some favourable circumstances to propose to the state of the Ticino Canton the foundation of the Academy of Architecture and, with it, an Italian-speaking university in Switzerland.
