5+1AA, cinque progetti
All the world’s future
1 Ottobre 2015
Il Progetto 42
1 Ottobre 2016BI - Toys and Arts factory
Cormano, MilanoPoised between play and reality
It belongs to us. It accompanies us. Perhaps it never leaves us, but inadvertently we never remember it. It coincides with the beginning, .... and it coincides with the end. Everything is in a pure state: feelings and emotions, actions and reactions, visions and imaginary thoughts. It is the world of children. It is something we would like to deal with all the time. It is the thing, in all its different forms, we would like everything in life to tend towards, because it is often serious, respectful and ironic. It teaches us not to take ourselves too seriously. It is very important. We are talking about play and what derives from: toys. A place marking the present poised between the past and future. A space to be re-conquered and defended. Even from the near future. It looks simple and hence playful. Two objects, a perforated toy box and a large skittle. We need space, we want life’s games (functions) to be contagious, overlap and create continuity. We conquer space. Double. Above and below. We take a magical object out of the toy box. Zebra-striped. A public space comes to life around the hooves. A black tail allows me to climb out of the toy box. At night luminous protuberances light up the spot where the treasure is located. A carpet of games distracts me, suspends me in temporal space which holds me there, standing before the threshold, before the magical world of reality (the museum) and fiction (the theatre). Fairytales and other books follow me on my way. I have rediscovered the child in me. It had never left me. It is always there, it is always with us. t is in Cormano.
BI - La fabbrica del Gioco e delle Arti
Cormano, MilanoTra gioco e realtà
Ci appartiene. Ci accompagna. Forse non ci lascia mai, ma inconsapevolmente non c'è ne ricordiamo. Coincide con l'inizio, …coincide con la fine. Tutto è allo stato puro: sentimenti ed emozioni, azioni e reazioni, visioni e immaginazioni. È il mondo del bambino. È quello con cui vorremmo sempre confrontarci. È quello a cui, in tutte le declinazioni, vorremmo far tendere le cose della vita, in quanto è spesso serio, rispettoso, ironico. Insegna a non prendersi troppo sul serio. È molto importante. È il gioco e i suoi derivati: i giocattoli. Un luogo che segna il presente tra passato e futuro. Uno spazio da riconquistare e da difendere. Anche dal prossimo futuro. Appare elementare e quindi giocoso. Due oggetti una scatola dei giochi bucata e un grande birillo. Ci occorre spazio, vogliamo che i giochi (funzioni) della vita si contaminino, si sovrappongono, diano vita con continuità. Conquistiamo lo spazio. Duplice. Sopra e sotto. Dalla scatola dei giochi estraiamo un oggetto magico. Zebrato. Intorno le zampe uno spazio pubblico prende vita. Una coda nera mi permette di scendere dallo scrigno dei giocattoli. Protuberanze luminose raccontano nella notte il luogo del tesoro. Un tappeto di giochi mi distrae, mi sospende in uno spazio temporale che mi trattiene lì, prima della soglia, prima del mondo magico della realtà (il museo) e della finzione (il teatro). Le favole e altri libri accompagnano il mio percorso. Ho ritrovato il bambino. Non mi ha mai lasciato. È sempre qui, è sempre con noi. È a Cormano.
We are convinced that any project to transform an oldfashioned industrial building into a museum must involve more than just technical/functional modifications or alterations to the interiors, because it involves converting its function and hence its urban, social and cultural purpose. We would like to hold onto the abandoned factory’s architectural severity as a container, originally rationally designed to enclose a manufacturing space, while its new appearance, still that of a factory but now generating ideas and not manufacturing goods, requires it to open up to and belong to the outside, to the urban and social fabric of the city. The old structure has been re-incorporated in the project as a giant chest of drawers from which we have “drawn out” some new structures, as if they were ideal drawers/receptacles for toys. This will create a contrast between what was already there (and will be renovated with great simplicity) and the new addition seen as an expression of modern-day society. A new combination poised between conservation and change, “functionality” and “the imaginary”, capable of taking on a role suitable for a museum so that it can become a landmark for its surroundings.
Siamo convinti che il progetto di trasformazione di un fabbricato di "archeologia industriale" in un museo debba andare oltre l'adeguamento tecnico/funzionale o d'interni, poiché si tratta di una conversione della destinazione d'uso e quindi del suo ruolo urbano, sociale e culturale. Della fabbrica dismessa vorremmo conservare la severità architettonica di un contenitore, allora razionalmente concepito per racchiudere un ambito produttivo, mentre la sua nuova veste, sempre quella di una fabbrica, anche se non più di merci ma di suggestioni, comporta l'apertura e l'appartenenza all'esterno, al tessuto urbano e sociale della città. Il volume, storicizzato, è stato recepito nel progetto come una grande cassettiera, dalla quale abbiamo "sfilato" dei nuovi volumi, come fossero degli ideali cassetti/contenitori per i giocattoli. Si realizzerà così un contrasto tra il preesistente, che sarà oggetto di un essenziale restauro, e il nuovo, l'aggiunto, che inteso come espressione della contemporaneità. Un nuovo insieme teso fra la conservazione e la mutazione, la "funzionalità" e l'"immaginario", capace di impossessarsi di un ruolo che si addice ad un museo, per diventare un landmark sul territorio.
IULM 6
MilanApril 2015 Milano Famagosta: A Suburb that slowly become Town Centre. An industrial past, built on rubble. The rubble that we can glimpse in the pain of the industrial and peripheral cities of Mario Sironi. A Suburb of Milan constructed according to the criteria of the post-war city. Urban planning that is violent or blind. Deaf. Never dumb unfortunately. Deafening silences and universal grey. The Project: Relativity and Soul; full and empty spaces are designed in the same manner, according to the same principles. From Relative Space to Homologous Space. Woods and Glades. The University is a place of research and, therefore, of the Unpredictable. The place of the Unpredictable is the Space in the Middle, the In-Between. The Chiasm. The routes, the intermediate spaces, the gardens, the terraces, are the places of perception, of sensory richness, of encounters, of intellectual and loving ambushes. Volumetric composition is, in planning, elementary and simple. Developing as space, it becomes rich and complex specifically in its relationship with the intermediate spaces. A tower in plaster, clung to by industrial safety ladders, hides a continuous ramp in its interior, an edgy but unique promenade.Nostalgia for heroic J. Stirling and the Johnson Wax of F.L.Wright. But above all dialogue with Mario Sironi and Aldo Rossi in ModenaPhotographed by Luigi Ghirri. Monumentality, pain, sharing and trust in the future. Of our country. Against Cynicism and Conformity.The exhibition space is the clearing in the middle of this forest of spaces, with its full moon, at the top, and his matter.
IULM 6
MilanoAprile 2015 Milano Famagosta: Una Periferia diventata lentamente Centro. Un passato industriale, fondato su macerie. Le macerie che intravediamo nel dolore delle città industriali e periferiche di Mario Sironi. Una Periferia milanese costruita secondo i criteri della città del dopoguerra. Un’urbanità violenta e cieca. Sorda. Mai muta, infelicemente. Silenzi assordanti e grigio universale. Il Progetto: Relatività e Anima; i pieni e i vuoti progettati nella stessa maniera, secondo gli stessi principi. Da Spazio Relativo a Spazio Omologo. Boschi e Radure. L’Università è luogo della Ricerca e, quindi, dell’Imprevedibile. Il luogo dell’Imprevedibile è lo Spazio di Mezzo, l’In-Between. Il Chiasma. I percorsi, gli spazi intermedi, i giardini, i terrazzi, sono i luoghi della percezione, della ricchezza sensoriale, degli incontri, degli agguati intellettuali e amorosi. La composizione volumetrica è, in pianta, elementare e semplice. Sviluppandosi come spazio diviene ricca e complessa proprio nel rapporto con gli spazi intermedi. Una torre in intonaco, opaca, aggrappata da scale di sicurezza industriali, nasconde al suo interno una rampa continua, una promenade spigolosa ma unica. Nostalgia del James Stirling eroico e della Johnson Wax di Frank Lloyd Wright. Ma soprattutto dialogo con Mario Sironi e Aldo Rossi a Modena. Fotografato da Luigi Ghirri. Monumentalità, dolore, condivisione e fiducia nel futuro. Del nostro Paese. Contro il Cinismo e il Conformismo. Lo spazio espositivo è la radura al centro di questa foresta di spazi, con la sua luna piena, in alto, e la sua materia.
At the centre of trapped full and empty spaces, the great hall with 600 seats, covered with green tiles, representsdisorientation, surprise. The answer for us, always fighting “against the universal grey”. It is the traffic light of Luigi Ghirri, again in Modena. It is the traffic light of Bruno Munari in the “Fog of Milan”. Today not much fog remains. There is only nostalgia for it: the nostalgia of those who discover that when the fog vanished, it was the city that was grey.And here, against this greyness, we fought and fight. Every single day. The project of the expansion of the University of Languages and Communication is part of the Campus IULM and recalls the need for an overall redevelopment of peripheral and productive areas in the city of Milan, with the aim of renewing the urban, building and environmental fabric of the city. The new building completes the transformation of the University with high quality facility service of public interest, such as the Auditorium, a Digital Library, the Canteen and the Exhibition Spaces. The proposed building, both for its articulation of separate volumes placed side by side, and for its role of openness to the city, have the double goal to merge itself in continuity with the other buildings of IULM, and also to be open to the city, representing the will of IULM to be connected and to interact with the city, in physical, cultural and economic terms. This functional composition is reflected in the choice of materials that had as goal the inclusion in the urban contexts in terms of continuity and visibility. The south building, made in concrete, low and linear, hosts spaces whose flexibility makes them usable for various academic facilities such as laboratories, exhibition halls, and as venues for events and corporate activities. The north building, in direct contact with the main office of IULM, also low and linear but made of bricks, it houses the canteen. The auditorium (covered in ceramics), an element of great architectural prestige, may be considered the focal spot of the complex and is designed to accommodate projections, conferences, cultural and artistic events.
Poi, al centro dei pieni e vuoti incastrati, la grande sala da 600 posti, rivestita di ceramica verde, rappresenta lo spaesamento, la sorpresa. La risposta per noi, sempre in lotta ”contro il grigio universale”. E’ il semaforo di Luigi Ghirri, sempre a Modena. E’ il semaforo di Bruno Munari nella ”Nebbia di Milano”. Oggi di nebbia ne è rimasta poca. C’è solo la sua nostalgia: la nostalgia di chi scopre che, svanita la nebbia, a essere grigia era la città. E qui, contro questo grigiore, si è combattuto e si combatte. Ogni giorno. Il progetto di ampliamento dell’Università di Lingue e Comunicazione si inserisce all’interno del Campus IULM e richiama la necessità di una riqualificazione complessiva delle aree periferiche e produttive da risanare nella città di Milano, con l’obiettivo di rinnovare il tessuto urbanistico, edilizio ed ambientale. Il nuovo edificio completa la trasformazione dell’Università con strutture di servizio di grande qualità ed interesse pubblico, quali Auditorium, Biblioteca Digitale, Mensa e Spazi Espositivi. L’edificio proposto, sia per la sua articolazione di volumi distinti e fra loro affiancati, sia per il ruolo di apertura verso la città, accoglie in sé il duplice obiettivo di costruirsi in continuità con i precedenti edifici IULM, sia di aprirsi verso la città e rappresentare la volontà di IULM di collegarsi ed interagire con la città, in termini fisici, culturali ed economici. Questa modalità funzionale e compositiva si riflette in una scelta dei materiali che ha avuto come obiettivo l’inserimento nel contesto urbano in continuità e visibilità. L’edificio sud, rivestito il cls a vista, basso e lineare, ospita spazi la cui flessibilità li rende fruibili per strutture accademiche di vario tipo come laboratori, sale espositive, sia come sedi per ospitare eventi ed attività aziendali. L’edificio nord, in diretto contatto con la sede principale di IULM, anch’esso basso e lineare ed in mattoni, ospita la mensa. L’auditorium (ceramica), elemento di grande prestigio architettonico, può essere considerato il luogo focale del complesso ed è progettato per poter ospitare proiezioni, congressi, eventi culturali ed artistici.
New A.S.I. (Italian Space Agency) building
RomeAn outskirt that somebody calls Centrality. No urbanity. Huge prefab objects. A project composed of simple, black volumes with different brightness, opacity, put one next to the other in an apparent balance. The moment before setting in motion. Or the exact suspension and pause moment during their movement. The theme of the project is the search for equilibrium. A formal equilibrium based on dissociation. A building formed by different functions, a series of different bodies, needs to be built through a composing process involving the bodies themselves and the interstitial spaces, shaping the circulation system and the connections. The search for Synthesis, proper to the creative-projecting process, has to face this dilemma and solve it. Maybe thanks to a metaphor. The absence of gravity is the metaphor of this project: a joyful floating which suddenly founds a momentary balance.
Nuova sede dell’A.S.I. (Agenzia Spaziale Italiana)
RomaUna periferia che qualcuno chiama Centralità. Nessuna urbanità. Enormi oggetti prefabbricati. Un progetto che si compone di volumi semplici, neri, di differente lucidità, opacità, affiancati tra loro in apparente equilibrio. L’attimo prima di mettersi in moto. O l’attimo esatto di sospensione e sosta durante il loro movimento. Il tema del progetto è quello della ricerca dell’equilibrio. Un equilibrio formale basato sulla dissociazione. Un edificio costituito di differenti funzioni, di una serie di corpi di fabbrica distinti, deve costruirsi attraverso un processo compositivo che coinvolga i corpi stessi e gli spazi interstiziali, tematizzando il sistema di circolazione e le connessioni. La ricerca della Sintesi, propria del processo creativo-progettuale, deve affrontare questo dilemma e risolverlo. Magari attraverso la disinvoltura di una Metafora. In questo caso la Metafora è la mancanza di gravità, il galleggiamento gioioso, che, improvvisamente trova un momento di equilibrio.
It is a dissociated balance, not based on symmetry, nor on weight balancing. It is based on masses suspension, representing a perceiving system of movement and connection. The black of the buildings, of different materials, but uniform, increases the feeling of not-belonging and the perception of a mysterious balance. A few unexpected, almost magic elements - such as a series of conic skylights, a path ending in the water, a forest of coloured pillars, inspired by Daniel Buren, the reflecting effect of geometrically perfect but interrupted bodies… - generate a sense of disorientation, increasing the effect of surprise of this complex and paradoxical balance. A building that catalyzes the centripetal power of self-revelation of the landscape through its fragments blacks, existingrtistic events.
Equilibrio dissociato perché non basato sulla simmetria, sul bilanciamento dei pesi rispetto a uno o più assi, ma su una sospensione delle masse, corrispondente ad un sistema percettivo di movimento e di connessione. Il nero totale degli edifici, di differenti materiali, ma uniforme, aumenta questa sensazione di estraneità e misterioso equilibrio. La magia di qualche elemento improvviso, una serie di lucernari conici colorati al loro interno, una foresta di pilastri, un percorso che sprofonda nell’acqua l’effetto specchiante totale di corpi geometrici puri ma interrotti, forniranno la sensazione di spaesamento che dovrà aumentare la sorpresa di questo equilibrio complesso e contraddittorio. Un edificio centripeto che catalizza l’energia su di sé rivelando il paesaggio attraverso i suoi frammenti neri, esistendo.
New BNL-BNP PARIBAS Real Estate Group headquarter
RomeA Specific Context.
The project of Roma Tiburtina will transform a large area
in the east quadrant of the city of Rome with considerable
benefits in terms of transport, environment and quality of
life. High-speed rail, urban regeneration, improvement of
viability as well as expansion of services to citizens and the
tourism facilities in the surrounding area are the objectives of
the project that will bring new roads, parks, squares, public
services, park lanes and bike lanes.
The Janus
The design of the new headquarters of BNL is part of a
particular and unique context. Unique because the nature of
the context is a layering of infrastructures that are separated
by two important urban areas of the city of Rome, thanks to
the construction of the station for high-speed rail, which leads
to a new role, not only in terms of services service but also
as “urban place”. Particular because the area where the new
building will stand, due to its geometric shape and topography
and its relative orientation, suggests to design the building
according to the principle of “Janus”.
The search for a urban and territorial dialogue
We consider it important that the new building develops a
dialogue with the adjacent complex of Tiburtina railway station,
with its main features characterized by size and horizontality.
The dialogue does not necessarily have to be direct, but should
have references both to perspectives and to the different
levels of the station, and also a different role (the horizontal
stratification) in the new urban landscape.
Our goal is to meet the functional needs with a building that
is capable, in its autonomy and identity, to belong to the urban
context of the Tiburtina Station and at the same time to be
representative both for the city of Rome and for its users.
From these considerations, a proposal is made for a building
that is able to relate differently to the north-west with the
district Pietralata and south-east with the Tiburtina Station
complex. Dynamic, reflective and fading, where its perception
is mainly dynamic and different meter after meter (from the train,
from the station, from the different areas of the city),
almost as if it was moving, comparatively, where the contect
is urban or “slow”, facing North, the perception is static
transparent and material.
The building thus assumes different roles leading our
imagination to important works of contemporary artists and
filmmakers who have treated the themes of perception and
"reflection" of reality.
Nuova sede gruppo BNL - BNP PARIBAS Real Estate
RomaUn contesto specifico
La realizzazione del progetto Roma Tiburtina trasformerà un
ampio territorio nel quadrante est della Città di Roma con
notevoli benefici in termini di trasporto, ambiente e qualità
della vita. Alta velocità ferroviaria, riqualificazione urbana,
miglioramento della viabilità, potenziamento dei servizi al
cittadino e dell’accoglienza turistica nel territorio circostante
sono gli obiettivi del progetto che porterà con sé nuove strade,
parcheggi, piazze, servizi pubblici e parchi, piste ciclabili.
Il Giano Bifronte
l progetto per la nuova sede direzionale della BNL, si inserisce
in un contesto particolare ed unico. Unico in quanto la
natura del contesto è una stratificazione di infrastrutture che
da elemento di separazione tra due significative aree urbane
della città di Roma, oggi con la realizzazione della stazione per
l’Altà Velocità assume una nuovo ruolo non solo di servizio ma
di “luogo urbano”. Particolare in quanto l’area su cui insiste il
nuovo edificio, per la sua conformazione geometrica e topografica
e il suo relativo orientamento, suggerisce a concepire
l’edificio secondo il principio del “Giano Bifronte”.
La ricerca di un dialogo urbano e territoriale
Riteniamo importante che il nuovo edificio dialoghi con l’attiguo
complesso della Stazione Tiburtina che tra i suoi tratti
principali si caratterizza per dimensione e orizzontalità. Il
dialogo non deve essere necessariamente diretto, ma fatto di
rimandi ora prospettici alle differenti quote della stazione, ora
di ruolo (la stratificazione orizzontale) nel nuovo paesaggio
urbano. L’obiettivo che ci siamo proposti è di rispondere alle
esigenze funzionali con un edificio che sia in grado, nella sua
autonomia e identità, di appartenere al contesto urbano della
Stazione Tiburtina ed allo stesso tempo poter essere rappresentativo
per la città di Roma nonchè per il suo utilizzatore.
Da queste considerazioni nasce la proposta di un edificio in
grado di relazionarsi in maniera differente a nord-ovest con il
quartiere Pietralata e a sud-est con il complesso della Stazione
Tiburtina. Ora dinamico, riflettente e dissolvente laddove
la sua percezione è prevalentemente dinamica e differente
metro dopo metro (dai treni, dalla stazione, dai differenti luoghi
urbani), quasi come se fosse in movimento, ora statico, trasparente
e materico laddove il contesto è urbano, “lento”, esposto
a nord. L’edificio assume pertanto diversi ruoli rimandando il
nostro immaginario a importanti lavori di artisti e cineasti contemporanei
che si sono confrontati sul tema della percezione e
del “riflesso” del reale.
Architecture as a perceptual device
The proposed typological choice wants to be identified as a
perceptual device of the context and of the reality, capable of
establishing a symbolic value where directs its gaze, a gaze
directed at the same time on two different landscapes: a
dynamic one, of the rail station and on the horizon of Rome,
and one of the urban district of Pietralata. The perception
ratio is subsequently a relation that the project moves from
outside to inside, creating a succession of spaces now
dilated and now compressed, which gradually accompany us
building a backbone both vertically and horizontally around
all “productives” areas, as well as the directional and officies
areas, and able from time to time to help us to discover new
"perspectives" and a new "context".
Architecture as a body
The building comes formally to assume a symbolic value that
is found in the following characteristics that define his own
"body":
• the floor pan, linear on the east and gently warped to west
through the writing of a variable sequence of broken lines;
• the choice of not wanting to create a "front and back" but
compositive music sheet capable of creating amazement and
wonder in the "metamorphosis" of the building, which will be
always perceived differently because of its ability to react to the
sun light at different hours of day during different days of the
year;
• the articulation of its functions, composed according to the
principle of horizontal stratification, in a classic sequence as
base ("collective" or better, interface with the public functions
), elevation (the predominant functions / offices), the crowning
(the unexpected and unique space and its relationship with the
sky);
• the entrance hall, according to an horizontal and vertical
relation thanks to the identification of a "union-separation"
that becomes a "transparency-terrace" for four levels and
discovers the water tank of Mazzoni, original and intact
element.
Architecture as a Matter
The new building is discovered through the silvery color of the
facades. Its preciousness is related to the theme of sunlight
and its reflections, to the ability to establish an atmosphere of
transparency, opacity, mirroring and semi-transparencies with
its surroundings.
In the morning and evening hours, or in those moments when
the light becomes incidental along the main façades, the
perception of its physical limits it’s nulled and its confused by
the natural light.
Glass façades, in vertical opaque portions, alternate with
ceramic diamond surfaces that reflects light in shades of
silver, never equal to itself.
Architettura come dispositivo percettivo
La scelta tipologica proposta vuole identificarsi come un
dispositivo percettivo del contesto, del reale, capace di stabilire
un valore simbolico laddove orienta lo sguardo, sguardo che si
indirizza allo stesso momento su due differenti paesaggi: quello
dinamico del parco ferroviario e dell’orizzonte sul centro di
Roma, e quello urbano del quartiere di Pietralata. Il rapporto di
percezione è a sua volta un rapporto che il progetto trasferisce
dall’esterno all’interno, creando una successione di spazi ora
dilatati ora compressi, che via via ci accompagnano costruendo
una spina dorsale sia verticale che orizzontale intorno a
tutte le aree “produttive”, ovvero quelle destinate agli uffici,
capace di volta in volta di farci scoprire nuove “prospettive” ed
un nuovo “contesto”.
Architettura come corpo
L’edificio arriva formalmente ad assumere un valore simbolico
che si ritrova nelle seguenti caratteristiche che ne definiscono
il suo stesso “corpo”:
• la disposizione planimetrica, lineare ad est e dolcemente
deformata ad ovest attraverso la scrittura di una sequenza
variabile di linee spezzate;
• la scelta di non voler creare un “fronte e un retro” ma uno
spartito compositivo capace di creare lo stupore e la meraviglia
nella “metamorfosi” dell’edificio, che sarà percepito sempre in
maniera differente per la sua capacità di reagire alla luce alle
diverse ore del giorno durante i diversi giorni dell’anno;
• l’articolazione delle sue funzioni, composte secondo un principio
di stratificazione orizzontale, in una sequenza classica
quale basamento (le funzioni “collettive” o meglio di interfaccia
con il pubblico), elevazione (le funzioni prevalenti/uffici),
coronamento (lo spazio inatteso e unico e il suo rapporto con il
cielo);
• la hall d’ingresso, evidenziata secondo un rapporto orizzontale
e verticale grazie alla identificazione di una “unione-separazione”
che diviene una “trasparenza-terrazza” per quattro
livelli e scopre la cisterna d’acqua del Mazzoni, elemento
originale ed intatto.
Architettura come Materia
Il nuovo edificio si racconta con il colore argenteo delle facciate.
La sua preziosità è riferita al tema della luce solare e dei
suoi riflessi, alla capacità di definire un’atmosfera di trasparenze,
opacità, specchiature e semitrasparenze con il suo intorno.
Nelle ore del mattino e della sera, ovvero in quei momenti in
cui la luce diventa incidentale lungo le pareti principali, annulla
la percezione dei suoi limiti fisici confondendolo con la luce
naturale.
Le pareti vetrate si alternano, a porzioni opache verticali, alla
ceramica diamantata che riflette la luce nelle tonalità dell’argento,
mai uguale a se stessa.
The horizontal tower
New directional buildings of FieraMilanoAmidst the city and its surrounding territory, a new building for Milan Trade Fair. The manner in which the city of Milan, as it encounters the cities of Rho and Pero and subsequently seeks out and defines a new form of interaction with the landscape, has been and will continue to be a “threshold” where the city turns into land and the land starts to become a city, metropolis and space suspended between nature and artifice. The axis and desire to look west, towards Turin and France, was once boldly outlined by Napoleon, when Sempione was the shortest road link between the fairs in Champagner in northern France and business centres in Northern Italy, particularly Milan. Today these links have finally been strengthened and will permanently look towards Europe from west to east - at least that is the plan - and infrastructural strategies have been backed up and supported by important building projects such as the new Trade Fair, the forthcoming Expo 2015, and transformations to bordering areas, which, like pieces in a jigsaw puzzle, will raise Milan to a new international status, provided they are studied and developed intelligently based on scenarios drawing on a new overall vision (for Milan and its surrounding territory) and specific solutions. This introduction is not supposed to be a mere preamble to an important architectural project, designed to fit into the present and future "scale" of the area in question. Our attitude to the architecture is that of proposing a project which provides a specific solution to a specific "setting", shunning the idea that a sign, icon and/or stylistic idiom can define themselves alone in a self-referential manner as the answer to every problem. The setting is what we find looking at things as they are, understanding why they are so and the values of their "real" being; the project aims to respond to this input and propose something new, transforming "reality" in a responsible and non-cynical manner. Unfortunately, nowadays architecture runs along the dangerous lines of self-reference and cynicism. We are now fortunate enough to be taking on a project which has managed to provide a balanced, pragmatic and visionary solution, capable of creating and inventing a place (never previously there) and "constructing it" through a vision based on accumulation, stratification and interaction. The Trade Fair, just like other important public buildings set along the axis of Sempione, has managed to create a place with its own distinctive identity, so we would like to confront and dialogue with the setting without overwhelming or being overwhelmed by it.
La torre orizzontale
Nuove strutture direzionali di FieraMilanoTra Città e territorio, un nuovo edificio per la Fiera di Milano. La modalità con cui la città di Milano incontrando le città di Rho e Pero e conseguentemente ricercando e definendo un nuovo dialogo con il territorio è stato e sarà quello di una "soglia" dove la città diventa territorio e il territorio comincia a diventare città, metropoli, luogo sospeso tra natura e artificio. L'asse e la volontà di guardare a occidente, verso Torino e la Francia era già stato ambiziosamente delineato da Napoleone laddove il Sempione rappresentava la via di collegamento più breve tra le fiere nello Champagner nella Francia settentrionale ed i centri commerciali dell’Italia settentrionale, in particolare Milano. Oggi le vie di collegamento si sono finalmente rafforzate e guarderanno definitivamente all'Europa da ovest ad est, questo è almeno l'auspicio, e le strategie infrastrutturali sono state accompagnate e confermate da importanti opere quali il nuovo Polo della Fiera, il futuro Expo 2015, e le trasformazioni delle aree limitrofe che come un puzzle potranno, se sapientemente indagate e sviluppate, secondo scenari che si nutrono di una visione generale (Milano e il suo territorio) e di risposte specifiche, proiettare Milano in una nuova dimensione internazionale. Questa premessa non vuole essere un semplice preambolo alla descrizione di un progetto architettonico importante seppur puntuale e di complemento all'interno delle "dimensioni" attuali e future dell'area in oggetto. Il nostro attegiamento nei confronti dell'architettura è quella di proporre un progetto che sia una risposta specifica ad un "contesto" spefico, rifuggendo l'idea che il segno, l'icona e/o il linguaggio possano da soli autodefinirsi in maniera autorefenziale come la risposta a tutte le questioni. Il contesto è ciò che noi troviamo, guardare le cose come sono, comprendendone il perché e i valori del loro essere "reale", il progetto è rispondere a queste e proporre ciò che non è mai stato, trasformare il "reale", in maniera responsabile e non cinica. Oggi purtroppo l'architettura corre spesso sul binario pericoloso dell'autorefenzialità e del cinismo. Oggi noi siamo fortunati a confontarci con un progetto che ha saputo con equilibrio essere una risposta pragmatica e visionaria, capace di creare e inventare un luogo (quello che non è mai stato) e di "costruirlo" con una visione, di accumulazione, stratificazione e di dialogo. La Fiera come gli importanti edifici pubblici che troviamo sull'asse del Sempione ha saputo creare un luogo con una identità precisa e pertanto con questa vorremmo confrontarci e dialogare senza prevalere, senza soggiacere.
Architectural representation. Two in one. One and three We feel that the new building needs to interact with the Trade Fair complex, whose most distinctive features include its size and horizontal layout. These aspects, connected with the frontal nature of the south entrance and urban perspectives along the promenade, the underground railway station exit and main infrastructures to the east, have resulted in the decision to create a horizontal tower (132.65 m x 48.10 m in height x 16 m in depth on a +120 cm base), capable of interrelating in differently the southeast compared to the northwest (i.e. along the building’s longitudinal axis). The area where the building is planned to be constructed clearly sets up relations with its setting, both in terms of the geographical layout of its grounding area and also the geometric layout of the building lot. We have, therefore, set ourselves the goal of designing a building which simultaneously belongs to the Trade Fair and, at the same time, fully complies with the functional and economic guidelines set down in the tender. These considerations have resulted in the design of a predominantly horizontal building capable of interrelating differently to the southeast (the roofs over the Trade Fair) compared to the northwest, where the Trade Fair faces Milan, but which, at the same time, is also a vertical Building in relation to the predominantly horizontal structure of the Trade Fair. The horizontal tower and vertical Building (a combination of two buildings) are the two “souls” making this a representative and symbolic building, which neither overwhelms or is overwhelmed. Stylistic choices connected with representational factors The frontal nature of the area (south entrance) between the underground railway station exit and entrance to the trade fair avenue, designing a building like a sequence of "horizontal towers" dictated by a classic stylistic criterion: base, elevation, top, where these elements are self-defined through the invention of "special" places featuring different inter-levels capable of setting out the needs of the "two" buildings and, at the same time, of describing them and setting itself out like one single building. The base raised above road level accommodates, separating the various flows (pedestrians from cars), and proposes different perspectives looking towards the horizon according to the various functions found at the foot of the building (full-height foyer, double-height canteen, varying height offices). - the building’s horizontal layering which sets out, in sequence, the Building housing the associate companies of Fiera Milano spa, a full-height distributional foyer separating and "joining together" the two Buildings, the Building housing other companies; the compositional strategy allows a high degree of flexibility, notable representational force both inside and outside within the logic of being two and one(the two Buildings) and one and three (the three overlapping horizontal "towers").
Rappresentatività architettonica. Due in uno. Uno e trino Riteniamo che il nuovo edificio debba dialogare con il complesso della Fiera che tra i suoi tratti principali si caratterizza per dimensione e orizzontalità. Questi aspetti, legati alla frontalità dell'accesso sud e alle prospettive urbane sulla promenade, all'uscita della metropolitana e sulle principali infrastrutture ad est, portano alla scelta di proporre una torre orizzontale (132,65 mt x 48,10 di altezza x 16 di profondità su un basamento a +120 cm), in grado di relazionarsi in maniera differente a sud-est, rispetto a nord-ovest (ovvero sull'asse longitudinale di giacitura dell'edificio). L'area dove si dovrà realizzare l'edificio stabilisce in maniera chiara i rapporti con il contesto, sia per la disposizione geografica della sua area fondiaria, sia per la conformazione geometrica del lotto. L'obiettivo che ci siamo proposti pertanto è contemporanemante rispondere con un edificio che appartenga al Polo della Fiera e allo stesso tempo soddisfi totalmente le richieste funzionali ed economiche del bando. Da queste considerazioni nasce la proposta di un edificio prevalentemente orizzontale, in grado di relazionarsi in maniera differente a sud-est, le coperture della Fiera, rispetto a nord-ovest, dove la Fiera si rivolge a Milano, ma che allo stesso tempo è un Palazzo verticale rispetto alla struttura prevalentemente orizzontale della Fiera. La torre orizzontale e il Palazzo verticale (sommatoria di due palazzi) sono le due anime che rendono rappresentativo e simbolico l'edificio, senza prevalere, senza soggiacere. Scelte compositive legate alla rappresentatività Il progetto pertanto si fonda sui seguenti principi: la frontalità dell'area, ingresso Sud, tra l'uscita della Metropolitana e l'ingresso al boulevard della fiera, concepire l'edifico come una successione di "torri orizzontali" determinate da un criterio compositivo classico: basamento, elevazione, coronamento, dove queste si autodefiniscono attraverso l'invenzione di luoghi "speciali" caratterizzati da interpiani differenti, capaci di articolare le esigenze dei "due" edifici e al contempo descriverne e articolarsi come un edificio unico, il basamento rialzato dal piano strada accoglie, separando i flussi (il pedone dalla macchina), e propone prospettive differenti che guardano verso l'orizzonte a seconda delle varie funzioni che troviamo al piede dell'edificio (foyer a tutta altezza, mensa a doppia altezza, uffici ad altezza) - la stratificazione orizzontale dell'edificio che mette in successione il Palazzo delle società consociate di Fiera Milano spa, un foyer distributivo a tutta altezza che separa e "unisce" i due Palazzi, il Palazzo delle società aggiuntive; la strategia compositiva permette alta flessibilità, grande rappresentatività esterna ed interna all'interno di una logica di essere due e uno (i due Palazzi) e uno e trino (le tre "torri" orizzontali sovrapposte).
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