Marble Design and Planning seem to be lacking in the Alvar Aalto Italian Church
A Stone Contractor’s perspective.
This is not a critique of architectural or aesthetic choices.
Name:
Location:
Architect:
Year:
Santa Maria Assunta
Riola di Vergato, Italy.
Alvar Aalto
1978
★★☆☆☆
★☆☆☆☆
★★★☆☆
★☆☆☆☆
Quality of materials
Fabrication
Installation
Natural stone project
What I like:
• Exterior wall cladding
• Sanctuary flooring.
What I don’t like:
• Lack of marble design planning.
EXTERIOR
The façade has a simple design. The exterior wall cladding is made of Pietra di Montovolo, a local sandstone. After 42 years, it still seems to be in good shape. This means that the stone has good physical properties. It is water- and freeze-resistant. This stone was the right choice for two reasons. First, it has the correct physical and chemical characteristics. Second, it is a local material that is similar to the colors of the ancient buildings in the area.
The pattern comprises horizontal strips of varying heights and pieces of varying lengths. This type of pattern minimizes material wastage because the entire slab can be used.
The small quarry probably provided only small-sized blocks, so the cladding pieces are also small. The pieces are cut into rectangular shapes without any further finishing: not even bevels. The random short lengths and simple fabrication keep the costs very low.
The stone looks uniform, and the installation is correct. The stains caused by water dripping from the roof are unfortunate. A simple protective molding over the stone would have diverted the rainwater away from the structure. The joints need to be resealed because the sealant is cracking disintegrating.
INTERIOR
The Sanctuary is the only part of the church with a marble floor. The rest of the floor is made of industrial tiles that are similar to terracotta.
The Sanctuary steps and floor are of 1-1⁄4ʺ thick Bardiglio Nuvolato marble cut in 1-1⁄4ʺ strips and installed with a wide joint filled with white grout. This is an unusual technique. Despite the low cost, the marble floor looks like a nice monolithic piece because it was honed on site after installation.
The Altar is made of a solid white Bianco Carrara marble block. The bush-hammered vertical faces make the altar look rough-hewn and primitive.
The throne located behind the altar is made of Arabescato marble quarried in the Carrara area. The light background and strong veining give the Arabescato marble richness and character.
The throne has a simple design, but the marble has a busy pattern. The choice of material makes it an overwhelming piece that commands more attention than the altar and its surroundings. The veining, which runs in more than one direction, exacerbates this situation. For example, the veins between the first and second steps run in opposite directions. The first step had to be flipped to correct this.
The connection between the throne and the side benches is probably one of the worst features. The use of medium quality Bianco Carrara marble for the benches is misguided. It is overpowered by the richness of the Arabescato and the pure white paint on the walls. The juxtaposition of naturally white marble and an artificial white color is not recommended. The benches look dirty, dark, and too cheap beside the Arabescato throne and against the pure white wall.
The planters are also of Arabescato. This creates a direct visual connection between the planters and the throne. The choices are inexplicable: bush-hammered altar, polished Bianco Carrara lectern and benches, Arabescato throne and planters, pure white wall, and white painted wooden furniture.
The appropriate use of marble seems not to have been considered. The seemingly random selection of white hues and finishing make each piece of furniture compete for attention. The clean, minimalist architectural style of the church is spoiled by the misuse of marble.