Technical – administrative consulting and assistance to the Rup for the final project of the Monte Santangelo’s brace
Buyer: S.E.P.S.A.- S.p.A.
Work amount: € 50.000.000,00
Other participants: Ing. Angelo Bianchi, Ing. Marcello Orilla
Inspired by the mythical landscape of the Campi Flegrei, more than by the contemporary landscape of the populous districts Fuorigrotta and Soccavo, the artist Anish Kappor in projecting the biggest sculptures of the two entrances of the underground in Monte Sant’Angelo in Naples, translated in his own sign the image of the “Hades’ door”, that the Latin civilizations posed not far from this area, in the Averno lake. The idea of the crater that leads to the underground travel is showed in correspondence with the entrance of the University. In fact the sculpture “with mouth” in steel corten envelop the sliding scales, signing the transit.
But the underground zone situated between Cinthia and Traiano Street is a more complex work made by four elements put together: University entrance, Traiano entrance, Cunicoli and Camerone. The zone of the work of art, in correspondence of the University, is delimited by a white stony flooring; from the surface rise two independent entrance sculptures which contain sliding scales, stairs and a lift to go down inside the station. The main entrance is through two combined sliding scales, object of the sculptural intervention.
The second entrance with the lifts to arrive to the underground verges is posed, instead, in a sculpture “with box” in stainless steel. In correspondence to the Traiano entrance, instead, the work of art, is situated inside the well of the new station, in which you develop in a unique and empty volume, the access flights. The work of art is a bent three-dimensional sculpture, like suspended “doughnut”, balanced on the corners of the well. The main entrance is under of that structure at eight in steel long about 35 metres and, partially, covers the exit and welcome the visitors. Also in this case you find the lifts in a second box-shaped volume, in black glass, suspended in the emptiness of the well. The relevant area of this entrance is floored in cubes of lava stone. But the artistic true intervention, in both cases, creates a sort of enveloping hug when the passengers go through the sculpture to go in the true terminal, which is the “camerone”- cave of 110 metres long and 14,5 metres height crossed by two bridges of variable section that link various exits- and the staples which are not faced, where the only characterizing element is the floor in black polished marble detached from the walls, which reflects the vaults of the gallery.
Result of the dialectics between two groups of work, the one of the artist and the other of the buyer, the project took into consideration the structures of the lines still realized, to use them in the phase of elaboration. Even though it had this kind of attention, the work is in the centre of discussions because of the higher prices and the fact that it was entrusted escaping the concourse practice.