Architect Giovanna Franco Repellini, a graduate of the University of Venice, freelances in Milan in her private practice: GFR Architettura. From a pilgrimage to the Holy Land a special encounter was born for her: that with the story of architect Antonio Barluzzi. She has combined her profession with that of a writer and publicist, so much so that in 2013 she wrote an entire work dedicated to the man she calls: The Architect of the Holy Land. Through her words we will discover what she was able to understand about Barluzzi's personal traits through the construction of the Basilicas, especially that of Tabor and Gethsemane. GIOVANNA FRANCO REPELLINI Architettura GFR – Milan "I found out during the pilgrimage that the architect was always Antonio Barluzzi, and so I was too curious to find out who he was, because he was completely unknown in Italy." Architect Repellini discovers, through field research, a series of letters and drawings that belonged to Barluzzi. Not only churches: buildings, roads. An extremely adventurous, energetic and sometimes extravagant man - this is how the architect describes him - "you see the Italian hospital in Jerusalem is fascinating. On one side," she continues, "half of Florence built and on the other side a majestic Soviet building. GIOVANNA FRANCO REPELLINI Architettura GFR – Milan "After the war he goes to Jerusalem and there he receives the commission of both Tabor and Gethsemane." At Tabor, Barluzzi put all his knowledge to use: 100 years ago there was not even a road. The stones used to build the basilica came directly from the top of the mountain. Instead, the labor such as craftsmen, builders, carpenters and artists were brought from Italy. But Barluzzi also did something else: he practically created a workshop where he taught local Arab laborers the knowledge needed to build the church. GIOVANNA FRANCO REPELLINI Architettura GFR – Milan Barluzzi's desire was to represent with architecture the divine mystery, showing what was behind it. He is a Symbolist basically and was part of the Symbolist culture that then spread to Europe in the first half of the 20th century. The church has to be visually representative of the Symbol. And that is already something that makes him particular and different from others. He is not just someone who does a style that was fashionable in his time, but he is someone who tries to represent the sacred event. Tabor in fact has a tripartite facade-representing the three tents, the ones Peter wanted to make when he narrated in amazement about the Transfiguration event. The other symbolic element found is the Light to symbolize Heaven, the rising to the vaults mixed with the shadow, which signifies sorrow, recollection. GIOVANNA FRANCO REPELLINI Architettura GFR – Milan In all the churches he plays so much with light, and so much so that the roof of Tabor was initially planned to be done with sheet glass. Barluzzi also made models of his projects and sometimes photographed his construction sites. A thorough professional, he wrote much about his enterprises, even the names of the artisans, artists and builders. From Rome he brought Rodolfo Villani to make the cardboard for all the angels and Monticelli as a mosaicist. GIOVANNA FRANCO REPELLINI Architettura GFR – Milan Then there is the stained glass window at the end, which is particularly dear to me. He began working with a company in Rome called Cesari Picchiarini: the same one that made the glass for Gethsemane but also the amazing stained glass window of the flagellation, designed by Giulio Cambellotti, perhaps one of the most important Italian artists. In the next video: With architect Repellini we will discover the other shrine built at the same time as Tabor: Gethsemane, the holy place where Christ prayed to the Father just hours before his passion.