Walter Angonese was born in Caldaro Sulla Strada del Vino in South Tyrol in 1961. In 1984-1990 he studied at the architectural school in Venice. In 1990 he returned to South Tyrol, in 2002 he opened his own office in Caldaro.
Archi.ru:
As a rule, future architects from South Tyrol go to study architecture in the Austrian Innsbruck. How did it happen that you studied in Venice?
Walter Angonese:
- In a strange way, the school in Venice (Institute of Architecture of the University of Venice, IUAV - approx. Archi.ru) interested me much more than the Innsbruck school, and I am happy that I studied there. For Venice, in architectural terms, these were the best years, because Aldo Rossi, Gino Valle, Manfredo Tafuri, Vittorio Gregotti - all undoubtedly the best Italian architects of that time - taught there.
Why did you decide to leave Venice and return to South Tyrol as a result?
- I worked a lot simultaneously with my studies, because otherwise I would not have been able to afford it: I had no money and had to somehow provide for myself. I was married. So I returned home. But I must say that it was the right decision. Upon arrival, I worked on several contests, and a small success came to me, which, of course, largely kept me here. Well, to be honest, I just love my land.
It seems to me that all the inhabitants of South Tyrol love their homeland (patria)
- "Homeland" (patria) is not an entirely accurate word. The Italian language does not have the necessary counterpart, so I will say in German: Heimat. It is not the same with the Italian homeland. In Italian, this word means a nation, and Heimat is a place, a corner, where you are from, there are your roots. Kurt Tucholsky, the great German poet, defined Heimat as a place where you are understood. We South Tyroleans love Heimat.
You are not called as soon as: Austrian architect, German, Italian. Who do you think you are?
- I am an architect who works here in South Tyrol, which has been largely shaped by the fact that it exists at the crossroads of two cultures: the Alps and the Mediterranean. And this is a great wealth: we have at our disposal both the heritage of Central Europe and the Mediterranean. This is our capital. We, if we want, can be inspired by both worlds, and this position has its own beauty. For example, the way we live: quite rationally, we work a lot - these qualities are characteristic of the Central European, even northern mentality, but we also know how to enjoy life, we love to eat well, to drink well: we have taken the best from both cultures.
It seems to me that all the advantages that you have listed were there before the Italian influence
- Well, I believe that the difference between South Tyrol (belongs to Italy since 1919, now the official name is the autonomous province of Bolzano - South Tyrol. - Approx. Archi.ru) and North Tyrol (historically belongs to Austria - approx. Archi.ru) is, and it lies precisely in the ability to enjoy life, which we inherited from the Mediterranean culture. It is exactly 3 km from the place where I live to the linguistic barrier, everyone there already speaks Italian. South Tyrol has a beautiful landscape and rich history. I consider myself an architect from South Tyrol, Italian by nationality and with a native German language.
Do people speak German exclusively among themselves in South Tyrol?
- Of course. There are practically no Italians here. We never speak Italian to each other. When I live here in Caldaro, I speak German 99.9 percent of the time.
And in what language is the official architectural documentation submitted then? German or Italian?
- Public facilities that we design for a commune or province must always be presented in both German and Italian. What is being done for private customers is, of course, in German.
Is it easier for an architect from South Tyrol to get a project and implement it in South Tyrol than in the rest of Italy?
- It is impossible to work in Italy. I took part in several competitions and won one. I have designed 2-3 objects outside our province, and none of them have been implemented. It is much more difficult to work in Tuscany, near Rome, in Trento (a province in the north of Italy, bordering on South Tyrol - Archi.ru's note) - much more difficult than here, with us. Now I have won a competition to build a huge villa in Austria. The administration works there very quickly and efficiently. The competition was won in November, and a few days ago the project was finally approved (interview took place on March 27, 2016 - approx. Archi.ru). Here, in South Tyrol, this is simply impossible - the approval process would take 6 months, and in [the rest of] Italy - generally from a year to five. Everything is somewhat more efficient with us due to autonomy: there is no need to send documentation to Rome, all issues of our province are resolved here. This makes life much easier and we waste less time. If we have enough work, then there is no need to do it outside our region. Personally, I am much more interested in designing here, even if I take part in closed competitions, including abroad. I've won competitions in Germany, North Tyrol, Graz, and so on. When I am invited to participate in a competition, I agree, but I do it mainly for the sake of a challenge.
Is there an architectural style of South Tyrol?
- Yes, there is a certain general style. And it was very important after the war, because in many ways it was a question of self-identification. Only in the 1980s did modern trends come from Val d'Aosta, somewhat diluting the architectural situation that had remained unchanged before. I always say that we have two main directions: folk and that which is formed by the so-called modern architects. I personally like to balance between these two currents. I am one of those fish that swim in both rivers. I am not interested in exclusively folk or exclusively modern things, something fashionable, and so on. I always try to find a middle ground. But, of course, in private construction, the folk style is still very, very strong, and it is different from what I design, but it also has a right to exist. Moreover, he is loved in the commune. Sometimes, even if you try to change it at least a little, add some new elements, you either do not agree on such a project at all, or put spokes in the wheels in all possible ways.
Which architects have influenced you the most? Who was especially important for your professional development?
- My teachers from the Venetian school: Aldo Rossi, Gino Valle, Vittorio Gregotti. Adolf Loos has always been very important to me as well. From the very beginning, even when I was very young, I was always inspired by him. Joseph Frank, Le Corbusier, Louis Kahn, of course, also influenced me, as, probably, many. If we take into account regional architects, then this is, of course, Lackner. In general, I probably do not want to single out any one master: the only architect whose work has passed with me through my entire professional life is Adolf Loos. I was also interested in artists who partly worked in architecture: Donald Judd, Walter Pichler and many others. Often I travel and see something that I really like, and then I try to find all possible information about it. For example, now I, as a student, study Sigurd Leverenc, and tomorrow someone else will be in his place. Maybe even from the Baroque era. Two years ago I wanted to know everything about Borromini: before that I had two or three books about him, and then I became so interested in him that I bought ten more.
