|
|
Da qui l'inserimento di mobili piuttosto casuali, una balaustra scura per la scala centrale tra i piani, e altre 'banalizzazioni' degli interni, peraltro dettagliatamente curati da Zucchi: il quale però – vicino alle idee molto chiare di Loos per quanto riguarda il rapporto tra progettista e committente (è quest'ultimo alla fine che dovrà abitare, magari per sempre, nel lavoro dell'architetto) – non appare particolarmente preoccupato di certe piccole contaminazioni.
|
|
|
The story would be too straightforward, were it not for the fact that the client’s personality also intervened. Fascinated by Zucchi’s idea, he was nevertheless also determined to add a few autobiographical touches to it, by virtue or necessity. Hence the inclusion of somewhat assorted furniture, a dark baluster for the central staircase between the floors, and other interior “commonplaces”, handled moreover in detail by Zucchi. The architect, however, who is close to the crystalclear ideas of Loos about architect-client relations (after all, it’s the client who will be living in the architect’s work, maybe even for the rest of his or her life), does not seem to have been particularly bothered by certain minor contaminations. And this is understandable, for in any case the outside, the building’s most visible form, indelibly displays his sign as the capable organiser of unstable balances: not just superimposed volumes, but a meticulously studied movement in space. This impresses a sharp dynamic on the whole design, giving rise to simultaneous perspectives and an unusual architectural object, at once solid and liquid. On the outside too, the client’s decision to economise on the rear “facade”, by substituting the glazing of the original plan with zinc sheets, is not unduly disturbing. Indeed it even perhaps makes the whole thing more interesting. The large blind and broken wall lends an enigmatic note to an architecture that might otherwise over-reflect Bruno Zevi’s cherished idea of four-dimensional decomposition, also borrowed from the pioneers of De Stijl, from Van Doesburg to Rietveld. Between chaos as the source of a new order and the totally aleatory fate behind this story, one is reminded of Mallarmé’s phrase taken by Man Ray as the absurd key to interpretation of his Dadaist film about another celebrated architecture: the Villa Noailles designed by Rob Mallet-Stevens, which was somehow the predecessor to, if not the inspiration for Zucchi’s house in Enschede:
|
