Vinay’s dream became a reality thanks to Leonardo Ricci, one of the leading figures of modern Italian architecture in the post-Second World War era.
Agape’s modern style is more than just a reference; it is employed in an entirely original manner that brings together structures and spaces. The spaces are designed not only for the purpose of simply being “lived in,” but to also foster the many diverse relationships that spring up within them. This architecture style mirrored Ricci’s definition of space as “something that is generated from the use you make of it.”
Local materials were used, adhering to the principle of so-called “organic architecture,” while the use of alpine shapes is a reinterpretation of an idea that was put forward at that time by architects such as Mollino and Ponti. There is no central space. The main hall (“salone”) can be used for different purposes according to the time of day: it can be a meeting room, a dining hall, or an interactive space. This concept continues both conceptually and physically towards the open-air church. The main hall is a space that brings people together. It has many different potential uses, with a constantly ambiguous nature between internal and external space, which breaks with the perimeter of the walls and paths. Visual continuity is achieved thanks to the large windows.
The entire structure acts as a roof for a path that starts with the outdoor stairs and leads up to the third “casetta,” (literally small house, i.e. dormitory building) and then follows along the landscape of the mountain, thereby tracing the true element of centrality of the building: the human dimension in its community nature.