Text details provided by architects. History – The history of the Church of Nostra Signera dela Costa is uncertain in Levanto; The nineteenth century Epigraph reported an Abhishek in 1334, but perhaps the building is more ancient. The church for the next two centuries was owned by the community of Borgo de Levanto until 8 January 1528, when it was sold to the Nobel Jenois family of Da Passano.
Along with eighteenth century -it works to expand the presence date for Fresco and plaster decorations. Episcopal inspection in 1872 stated: «Slate floors with marble sections and all walls are fresco: The wall has been depicted on the perception of mary and natritity to the wall on half the way. In the walls of the presbystry, the declaration of St. Elizabeth and it is all excellent, and it is all excellent. After World War II, the building was sold to Curia and then a religious congregation and the building began its decline. The ancient church was divided into about 50 cm and hall. In its treasure.
Idea – In 2018, the company was purchased by PF Economy to create a cultural and experienced training center for a cultural and experienced training center. The customer’s idea is to enhance the usable surface area with a more private location. The architectural design was performed by an architecture and Landscape Studio, Caarpa located in Genoa. Structural design was done by EXA Engineering. The idea of ​​the project includes a contemporary steel “Cantoria” (a type of song players, specific of the Italian church).
Design – “Cantoria” is a small architecture placed inside the hall. Its terese and linear design re -prepare the location of the church’s entrance. The only decorative concession is represented by two curved “capitals” that disrupt linear structure and recall the elegance of classical architecture. It is an arbitration element, it suggests new spatiality and attempts connections with the ancient building. The newly exposed steel structure is a spatial machine that adds new glimpse and visuals, modifying the perception of space. Mejenine wraps around the ladder structure leading to the floor, offering a close-up scene of the eighteenth century pluscies.
In front of the counter front, within two small rooms, there is space for technical systems. The restoration of the graffiti frescoes acts as a counterpost for the walls of the hall. In this part of the building we wanted to highlight the story of the twentieth century events, simply consolidating pastel shades, covered marks and missing plastors as an informal expression of recent history. Although less “great” than ancient phenomena, it now receives a value of memory with an aesthetic value. The side altars, which were now snatched from their coverings, were covered with a layer of lime putty, which allows us to reflect their original shape, so far softened over the years. Stukes were cleaned with centuries of petina, brought to a light mark of original colors. The floor was built with slate tiles placed in a row and had a range of every three. On the mejenine floor, an open space looks at the bottom hall. From a large traphil window you can see the village of Levanto to the sea.
