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Chiesa di Sant'Ildefonso
Piazzale Damiano Chiesa, Milan
1954 - 1956
The
Chiesa die Sant'Illdefonso on Piazzale Damiano Chiesa in
Milano was built between 1954 and 1956 according to a design
by the renowned Italian architect Carlo
De Carli. The building was inaugurated in 1956 by
Archbishop Giovanni Battista Montini. The church is located on
the large, circular square called Damiano Chiesa. A total of
six streets run in a star shape towards the square. The church
occupies a plot of land between two of these streets. This
urban situation influenced the lateral arrangement of the two
small parish buildings as well as the windowless facades
towards these buildings.
Inside and outside, the Sant'Illdefonso church is characterized by a structural grid made of reinforced concrete and exposed brickwork fillings. This construction method was popular in the architecture of the time and was used repeatedly by Carlo De Carli as well as by other architects. A reinforced concrete band runs along the sloping roof, two more bands run horizontally around the building, giving the building a sense of scale. In addition, these design features define three horizontal levels. These levels are each exposed differently. The lowest level has no windows and is only exposed to light through the intensely colored glazing above the entrance. The middle level is characterized by numerous small openings with pastel colored glasses. On the top level there is extensive glazing in yellow gold color. In addition, natural light falls on the central altar via the roof lantern. The artificial lighting is provided by slim neon lights that have been integrated into the galleries.
The church rises above a polygonal floor plan as a variation of a central building. The plan figure develops from a hexagon, with the altar occupying the center and the rays creating a star circumference with concave deformation. Another important feature of the design is the "ciborium", a circular structure made of columns and beams that rises higher than the faceted sloping roof and supports the glazed roof lantern, which lets the light fall onto the altar. This structure, which is also reflected in the pattern of the floor covering, is divided into five levels. Of these five levels, three are accessible, two are each connected to their own gallery, which runs along the facade around the building. Originally, these facilities were only designed for maintenance work such as cleaning the windows and looking after the works of art. Only the first level was intended for the choir from the start. Through the accessibility of the galleries, Carlo De Carli was not only able to give them a functional role, but also gave them a high symbolic value. With this conception, the building gives the impression that it can be fully experienced in its entirety.
Unfortunately, the facade has undergone some changes which have a negative effect on the appearance. A covered atrium and two access ramps have been added to the front, which also means that the stairs have been adapted.
Inside and outside, the Sant'Illdefonso church is characterized by a structural grid made of reinforced concrete and exposed brickwork fillings. This construction method was popular in the architecture of the time and was used repeatedly by Carlo De Carli as well as by other architects. A reinforced concrete band runs along the sloping roof, two more bands run horizontally around the building, giving the building a sense of scale. In addition, these design features define three horizontal levels. These levels are each exposed differently. The lowest level has no windows and is only exposed to light through the intensely colored glazing above the entrance. The middle level is characterized by numerous small openings with pastel colored glasses. On the top level there is extensive glazing in yellow gold color. In addition, natural light falls on the central altar via the roof lantern. The artificial lighting is provided by slim neon lights that have been integrated into the galleries.
The church rises above a polygonal floor plan as a variation of a central building. The plan figure develops from a hexagon, with the altar occupying the center and the rays creating a star circumference with concave deformation. Another important feature of the design is the "ciborium", a circular structure made of columns and beams that rises higher than the faceted sloping roof and supports the glazed roof lantern, which lets the light fall onto the altar. This structure, which is also reflected in the pattern of the floor covering, is divided into five levels. Of these five levels, three are accessible, two are each connected to their own gallery, which runs along the facade around the building. Originally, these facilities were only designed for maintenance work such as cleaning the windows and looking after the works of art. Only the first level was intended for the choir from the start. Through the accessibility of the galleries, Carlo De Carli was not only able to give them a functional role, but also gave them a high symbolic value. With this conception, the building gives the impression that it can be fully experienced in its entirety.
Unfortunately, the facade has undergone some changes which have a negative effect on the appearance. A covered atrium and two access ramps have been added to the front, which also means that the stairs have been adapted.
Die
Chiesa die Sant'Illdefonso an der Piazzale Damiano Chiesa in
Milano entstand in den Jahren 1954 bis 1956 nach einem Entwurf
des renommierten italienischen Architekten Carlo
De Carli. Das Gebäude wurde im Jahr 1956 durch den
Erzbischof Giovanni Battista Montini eingeweiht. Der
Kirchenbau befindet sich am grossen, kreisförmigen Platz
namens Damiano Chiesa. Insgesamt sechs Strassen verlaufen
sternförmig auf den Platz zu. Die Kirche besetzt eine Parzelle
am Platz zwischen zwei dieser Strassen. Diese städtebauliche
Situation beeinflusste die seitliche Anordnung der beiden
kleinen Pfarrgebäude sowie der fersterlosen Fassaden zu diesen
Gebäuden.
Innen
wie Aussen wird die Kirche Sant'Illdefonso durch ein
strukturelles Raster aus Stahlbeton und flächige
Sichtmauerwerk Füllungen geprägt. Diese Bauweise war in der
Architektur jener Zeit beliebt, und wirde von Carlo De Carli
wie auch von anderen Architekten wiederholt angewendet. Ein
Stahlbetonband verläuft entlang dem geneigte Dach, zwei
weitere Bänder verlaufen horizontal um das Gebäude, und geben
dem Gebäude eine Masstäblichkeit. Zudem werden durch diese
Gestaltungsmittel drei horizontale Ebenen definiert. Diese
ebenen werden jeweils unterschiedlich belichtet. Die unterste
Ebene ist fensterlos, und lediglich über die farbintensiven
Verglasung über dem Eingang belichtet. Die mittlere Ebene wird
von zahlreichen kleinen Belichtungsföffnungen mit
Pastellfarbenen Gläsern charakterisiert. In der obersten Ebene
befinden sich grossflächige Verglasungen in gelbgoldener
Farbe. Ergänzend fällt natürliches Licht über die Dachlaterne
auf den zentralen Altar. Für die künstliche Belichtung sorgen
schlanke Neonleuchten, welche in die Gallerien integriert
wurden.
Die
Kirche erhebt sich über einem polygonalen Grundriss als
Variation eines Zentralbaus. Die Grundrissfigur entwickelt
sich aus einem Sechseck, wobei der Altar das Zentrum besetzt
und die Strahlen einen Sternumfang mit konkaver Verformung
erzeugen. Ein weiteres bedeutendes Merkmal des Entwurfs ist
das "Ciborium", eine kreisförmiges Konstruktion aus Säulen und
Trägern, das sich bis über das facettierte Schrägdach hinaus
erhebt und die verglaste Dachlaterne trägt, welche das Licht
auf den Altar fallen lässt. Diese Struktur, die auch im Muster
des Bodenbelags widerspiegelt wird, ist in fünf Ebenen mit
unterteilt. Von diesen fünf Ebenen sind drei zugänglich, zwei
sind jeweils mit einer eigenen Gallerie, welche entlang der
Fassade um das Gebäude verläuft, verbunden. Ursprünglich waren
diese Einrichtungen lediglich für Wartungsarbeiten wie das
Reinigen der Fenster und das Pflegen der Kunstwerke
konzipiert. Lediglich die erste Ebene war von Beginn an für
den Chor vorgesehen. Durch die Zugänglichkeit der Gallerien
konnte Carlo De Carli diesen nicht nur eine funktionale Rolle
geben, sondern verlieh ihnen einen hohen symbolischen Wert.
Durch diese Konzeption vermittelt das Gebäude den Eindruck,
dass es in seiner Gesamtheit vollständig erfahren werden kann.
Unglücklicherweise
erfuhr die Fassade einige Veränderungen, welche sich
nachteilig auf das Erscheinungsbild auswirken. An der Front
wurden ein überdachtes Atrium und zwei Zugnagsrampen
hinzugefügt, wodurch auch die Treppe angepasst wurde.