TOR VERGATA UNIVERSITY

UNIVERSITÀ DI TOR VERGATA
Via di Tor Vergata 1

1986/90 Alfredo Lambertucci (1928/96) and Tommaso Valle (1934) coordinated many architects including: Gaetano Rebecchini, Fernando De Sando, Giancarlo Rosa and Gilberto Valle

It was built on an area of 136 hectares (336 acres), inspired by the shape of the ancient Circus of Maxentius
“The plan, which included the territorial scale and the architectural plan of the faculties and of the other planned buildings, underwent several updates that caused internal discussions about the project, resulting in the gradual removal of Lambertucci from the control of the executive phase” (Filippo Spaini - Dizionario Biografico degli Italiani Treccani)

St. MARGUERITE MARY ALACOQUE

S. MARGHERITA MARIA ALACOQUE

Via Antonio Carpanè 7 - Tor Vergata

2000/06 Italo Rota (1953) with collaborators Fabio Fornasari, Alessandro Pedretti and Massimiliano Beltrami

Italo Rota was also the architect, with Gae Aulenti, of the design of the exhibits of the Musée d'Orsay and of the Centre Pompidou in Paris

Visionary structure in blue panels

Originally it had a red cross on the front in the shape of a plus sign, which was then removed in response to criticism received because it would have made resemble too much the church to a medical facility

In the church is kept the liturgical furnishing of the World Youth Day of the year 2000, including the gigantic “Bronze Crucifix” by Stefano Pierotti (1964) of 6 x 4 m (20 x 13 feet) with a weight of 2 tons (2.2 tons)

UNIVERSITY CHAPEL OF St. THOMAS AQUINAS

CAPPELLA UNIVERSITARIA DI S. TOMMASO D'AQUINO

Via Salamanca - Tor Vergata

2002 Vittorio De Feo (1928/2002)

Mixture of Soviet constructivism and brightness a la Bernini

The nave is rotated by 30 degrees to the building and the different angles of the axis of the building and of the nave are smoothed by a balcony that wraps almost all the nave and presbytery

"Italian architect and essayist. He was interested in the Soviet Constructivism (...) and experimented in compositions with simple solids and their expressive potentialities. (...) His research has been mitigated over time landing at a resolute reduction of architecture to its constituent elements and to the clarity of its primary geometric forms. (...) His achievements are testimony to the different seasons the Italian architecture went through" (Enciclopedia Treccani)

ATRIUM

In the niche on the right "Bronze crucifix" by Roberto Scardella (1957)

"Scardella iconized the Crucifix in the fleeting moment of the 'Consummatum est' - It has been consumed - where the redemption is accomplished by Christ. 'Consummatum est' is a symbolic title to name a bronze manneristic and modern at the same time, expressing spiritual charm, sacral quotes, formal originality. The icon of the master is not a sign of failing consummation, but of absolute completion, so that the attraction is not toward the historical event, but toward the meta-historical one" (Carlo Chenis)