Studietur til Roma, Milano og Bergamo 10. – 13. oktober 2013
Arkitektene Astrup og Hellern Tur er tilrettelagt av byggutengrenser.no i samarbeid med HRG Nordic Takk til Saint-Gobain Byggevarer as for hjelp i gjennomføringen av turen
Kontaktpersoner:
Hotell:
Byggutengrenser.no: Jan Eldegard mob: + 47 91 17 91 09
Hotel Ripa Via Luigi Gianniti, 21, Roma
Kirsti Skogseth mob: +47 95 81 69 25
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Hotel dei Cavalieri Piazza Giuseppe Missori 1, Milano
Roma:
Milano/Bergamo:
Torsdag 10. oktober
Lørdag 12. oktober
>> Church of dives in Misericordiae, Richard Meier >> Palazzo della civiltá Italiana, Marcello Piacentini >> Palazzo dei Congressi, Adalberto Libera >> Novo palazzo Congressi Italia, Massimiliano Fuksas Fredag 11.oktober >> Via Giustiniano Imperatore, abdr >> Macro museum, Odile Decq architect >> New Tiburtina train station, abdr >> Ara Pacis museum, Richard Meier >> Auditorium parco della musica, Renzo Piano >> Palazzetto dello sport, Pier Luigi Nervi >> Maxxi museum, Zaha Hadid
>> University Bocconi, Grafton architects >> City Life, Zaha Hadid >> Italcementi, Richard Maier >> Papa Giovanni XXIII, Mario Botta
Søndag 13. oktober >> Assago Milano Fiori, Erik van Egeraat >> Assago Milano Fiori, 5+1 >> Assago Milano Fiori, Cino Zucchi >> Porta Nuova - div architects >> Sole 24 ore, Renzo Piano
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ROMA Torsdag: 1. Es Raddison design hotel 2. Church of Dives in Misericordiae 3. Palazzo della CiviltĂ Italiana 4. Palazzo dei Congressi 5. Nuovo Palazzo Congressi 6. Hotell Ripa
Fredag: 7. Giustiniano Imperatore 8. New Tiburtina train station 9. Macro museum 10. Ristorante Gusto 11. Ara Parcis 12. Auditorium Parco della Musica 13. Palazzetto dello Sport 14. Maxxi museum 15. Stazione Termini
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MILANO – BERGAMO Lørdag: 1. University Bocconi 2. City Life 3. Ristorante Da Mimmo 4. Church Pope Giovanni XXIII 5. Italcementi 6. Hotel dei Cavalieri
Søndag: 7. Assago Milano Fiori 8. Porta Nuova 9. Il Sole 24 Ore headquarter
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Es Radisson design hotel
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Church of Dives in Misericordiae – Richard Meier The proportinal structure of both the church and the precinct is predicated on a displaced square and four circles. The three shells that determine the primary gastalt of the church are based on three circles of equal radius and refer discreetly to the Holy Trinity. The perceptual volume of the church is directly influenced by zenithal light on the east-west axis; glazed skylights between the shells create changing patterns of light and shadow. According to the season, the weather, and the time of day, light is graduated across the inner surface of the shells, giving the chapel and the baptisery a particularly vivacious yet
ephemeral character. The effect is further enchanced by the light entering trough translucent glass between the shells and the narrow band of clear glass around the perimeter of the church. Of particular note are the large curved walls on the south perimeter of the church. These three walls vary in height and are, in effect, segments of a sphere. Each shell is built of pre-cast concrete segments, post-tensioned in situ; by virtue of the curvature in plan, each is independently supported. Wind load resistance is developed through a vertical cantiever effect acting across the full depth of the curved section. (www.richardmeier.com)
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Palazzo della Civiltà Romano – Marcello Piacentini The Palazzo della Civiltà Italiana is an icon of Fascist architecture. It lies in the district of Rome known as the Esposizione Universale Roma (also known as ‘E.42’ and ‘EUR’). It is particularly symbolic of this district, exemplifying its monumentality. The Palazzo della Civiltà Italiana was constructed as part of the program of the Esposizione Universale Roma, a large business center and suburban complex, initiated in 1935 by Benito Mussolini for the planned 1942 world exhibition and as a symbol of fascism for the world. The Palazzo was designed by the architects Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano and constructed between 1938 and 1943. It was inaugurated on 30 November 1940 as the centerpiece of the Esposizione and continues to be its most iconic building. The structure is also considered one of the most representative examples of Fascist architecture at the EUR. The EUR provides a large-scale image of how urban Italy might have looked if the fascist regime had not fallen during the war— large, symmetrical streets and austere buildings of limestone, tuff and marble, in either stile Littorio, inspired by ancient Roman architecture, or Rationalism. Its architectural style is often called simplified neoclassicism. The design of the “Square Colosseum” was inspired more to celebrate the Colosseum, and the structure was intended by Benito Mussolini as a celebration of the older Roman landmark. Similar to the Colosseum, the palace has a series of 8
superimposed loggias, shown on the façade as six rows of nine arches each. These numbers are said to be an allusion to the name of the Fascist dictator: “Benito” having six letters and “Mussolini,” nine. (www.wikepedia.com)
Palazzo dei Congressi – Alberto Libera Palazzo dei Congressi is a venue located in Rome, Italy. Constructed originally for the 1942 Universial Exposition, but cancelled to World War II, it hosted the fencing and the fencing part of the modern pentathlon events for the 1960 Summer Olympics. (www.wikipedia.com)
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Nuovo Palazzo Congressi Italia – Massimilliano Fuksas The new Convention Center will be a work of extraordinary artistic value, characterized by innovative logistics solutions and a choice of technologically advanced materials in the construction industry. The building is being built in a strategic area of the historic district of the eur, a quadrant bounded by the Via Cristoforo Colombo, Viale Europa, Viale Asia and Viale Shakespeare, fully inserted in the urban environs, an area of about 27 000 square meters owned by EUR SpA. The externally visible part of the new Convention Center will be the result of the interaction of three elements: the theca, the “cloud” and the hotel. The “cloud” is, without doubt, the characteristic architectural element of the project: the structure, with an extraordinary visual effect, will be made of an innovative membrane (fiberglass and silicone can guarantee the highest level of fire safety) and ‘floats’ in a “showcase” of steel and glass 40 meters high, 70m wide and 175 long. The design of the New Convention Center is distinguished by its eco-friendly approach: a set of choices to reduce energy consumption by using energy produced through renewable sources. Despite the grandeur of the work, the skyline of the neighborhood will remain essentially unchanged. The viability of the area, according to the approved project, will not be altered. The complex, in fact, was designed to dialogue with the surrounding neighborhood and is inserted in an urban context of particular importance. Nearby there are major urban centers such as the Palazzo dei Congressi, EUR Fermi underground stop, the artificial lake of EUR, Piazzale Marconi and will provided with underground parking. The intention is to use the New Convention Center and the Palazzo dei Congressi simultaneously making it become the first congress hub in Italy. (www.eurcongressiroma.it) 10
Giustiniano Imperatore – Abdr The project was realized by Studio ABDR Architetti Associati di Roma, for the structural engineering by eng. F. Sylos Labini, and for the construction of the buildings by Società Consortile Giustiniano Imperatore. The requalification includes the construction of two new residential buildings, 35 metres in height, one of which supported by concrete filled Tenaris’s tubes. “The architectural project includes the construction of 28 circular pillars with small diameters (60 cm) with different lengths from 6.9 to 11.5 metres”, explains Alessandro Giacobbe, Business Development Manager for industrial products, “The structural engineer decided to realize the pillars using our steel tubes filled with concrete, optimizing the peculiar characteristics of both materials and uniting the pleasant aesthetic result with the high resistance to static and seismic stresses”. (www.tenaris.com)
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Macro museum – Odile Decq architect Paris-based architect and urbanist Odile Decq was commissioned with the redevelopment and expansion of the Roman Museum of Contemporary Art in 2001 by Rome City Council. The main site of the museum was already the product of the restoration and redevelopment of the old Peroni brewery, an important industrial building from the beginning of the 20th century. TheFrench architect was faced with the complex challenge to introduce Contemporary Art Gallery in an old mixed industrial building. Decq welcomed the opportunity to transgress more conventional attitudes towards the integration into a historical context: the result is a convergence of ramps, illuminated staircases, a MAcro museum bamboo garden, roof terraces and transparent spaces with multiple cross-flows of visitors moving through the building. Perspectives are tangential, allowing chaining and sequential points of view. Space is not centred and static but in constant tension, expressing the sense of a dynamic equilibrium.The spacious foyer at the entrance will lead to a large exhibition hall, to the Art Café’ and bookshop. The central volume of running water over the centre of the foyer intends to create a sensation of freshness. The red « Z » running through the courtyard, the foyer, the garden, the restaurant and the roof is a projection screen. (www.worldarchitecturenews.com)
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New Tiburtina Train station – Abdr The renovation of Tiburtina station in eastern Rome has been talked about since 1984 and alas works have begun. The operation is complex as it involves resizing the station, regenerating the surrounding areas and adding a stretch of road to improvethe local traffic. The new design is a bridge over the existing spinal chord of the rail tracks. It aspires to be a station at international level and a meeting point at neighbourhood level. It will be a bridge but also an urban boulevard that will reconnect two areas that had long been separated by the tracks: the residential Nomentano
and the more rundown Pietralata. The Bridge-Station is designed with flexibility of space in mind: inside, suspended multi purpose volumes have been created and vertical support structures have been eliminated to help reduce the impact of vibrations coming from the trains whizzing past below. Similar to the tongue of a bell, thanks to gravity each suspended space will soften the vibrations transmitted by the container. (http://www.worldarchitecturenews.com)
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Ara Parcis museum – Richard Meier The Ara Pacis consists of a rectangular enclosure containing the true altar. The most significant scene in the decoration is the one featuring Augustus, Agrippa, Julius and Tiberius. One of the walls bears bronze letters stating Augustus’ testament, known to historians as “Res Gestae”. Sealing the Ara in a marble case designed by architect Vittorio Ballio Morpurgo in 1938 failed to save it from decay - hence the decision to put it in a museum. Richard Meier’s project preserves the Ara Pacis Museum largely unaltered, surrounding it in a permeable, transparent case. Whether or not one agrees with the principle of creating this contemporary ‘skin’ around the monument, the attraction of
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Richard Meier’s project lies in its lightness and alternation of open and closed areas while remaining “permeable”. Glass and travertine are the key materials in this highly linear building right in the historical centre of Rome, on the western side of Piazza Augusto Imperatore, parallel to the Tiber. The structure, which measures about 4,200 m2, is divided into three functional areas (the museum, multimedia halls and offices) on several levels, adapting to the morphology of the site. (www.floornature.com)
Auditorium Parco della Musica – Renzo Piano Auditorium Parco della Musica is a large multi-functional public music complex in Rome, Italy. The complex is situated in thenorth of the city, in the area where the 1960 Summer Olympic Games were held. Parco della Musica was designed by Italian architect Renzo Piano. Three large concert halls (Sala Petrassi, in memory of Goffredo Petrassi, about 700 seats; Sala Sinopoli, in memory of Giuseppe Sinopoli, about 1200 seats; Sala Santa Cecilia, about 2800 seats) are structurally separated to ensure soundproofing, though joined at the base by a continuous lobby. A fourth “concert hall”, called Cavea, is the open air theater recalling ancient Greek and Roman theaters. The fan-shaped layout is formed around the central piazza. Structures have several nicknames such as blobs, beetles, scarabs, turtles, insect carapaces, computer mice.
During construction, excavations uncovered the foundations of a villa and oil press dating from sixth century BC. Renzo Piano redesigned the facility to accommodate the archaeological remains and included a small museum to house the artifacts that were discovered. Such changes delayed the project by a year. The Parco della Musica was formally inaugurated on 21 December 2002; in few years it became the world’s most visited music facility with over one million spectators in one year. (http://en.wikipedia.org)
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Palazzetto dello Sport – Pier Luigi Nervi Built for the 1960 Olympics, the palazzetto is a modest sports stadium in an innovative concrete dome. Designed by Pier Luigi Nervi it hosted boxing among other sports during the Olympic Games. The innovative dome is made of ribbed reinforced concrete. The lower half of the dome has continuous ribbon of window the whole way around the circular stadium, beneath the elegantly ibbed, white-painted concrete ceiling. A wonderful space. Pier Luigi Nervi was educated and practised
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as a “building engineer� in Italy. After 1932, his aesthetically pleasing designs were used for major projects. This was due to the booming number of construction projects at the time which used concrete and steel in Europe and the architecture aspect took a step back to the potential of engineering. Nervi successfully made reinforced concrete the main structural material of the day. (http://mimoa.eu)
Maxxi museum – Zaha Hadid MAXXI supercedes the notion of the museum as ‘object‘ or - prensenting a field of buildings accessible to all, with no firm boundary between what is ‘within‘ and what is ‘without‘. Central to this new reality are confluent lines - walls intersecting and separating to create interior and exterior spaces. (www.zaha-hadid.com)
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University Bocconi – Grafton architects Inside, our building is thought of as a large market hall or place of exchange. The Building’s hall acts as a filter between the city and the university. The northern edge of the site fronts onto the artery of Viale Bligny, with the clatter of trams, the rush of busses, general traffic, people passing. It addresses the throbbing urban life of Milan, weaves into the mesh of the city. This frontage becomes the architectural opportunity to have a window to Milan, a memorable image to confirm the important cultural contribution that the Bocconi University plays in the life of this city. For this reason, the public space of the aula magna occupies this frontage, asserting a symbolic presence and a register of the prestigious status of the University. The building is set back from the Viale Bligny & Via Roentgen edges to make a public space 18m x 90m inspired by the space forward of Hospital Maggiore.This new deep finger of space reaches out to the city and beckons the visitor into the heart of the interior. This public space continues into the building, bringing with it it’s stone surface, the floor of the city. (www.dezeen.com)
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City Life – Zaha Hadid Creating a portal to the FieraMilano: a 43-storey, 190 metre retail tower emerging from the site, giving shape to a torsion or vortex, a slow rising and twisting from its base. Horizontal energy is released into a vertical, spiralling vector aligned with the snaking forms of the housing across the river. (www.zahahadid.com)
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Italcementi Headquarter – Richard Meier Prominently positioned at the eastern end of the Kilometro Rosso Scientific TEchnology Park in Bergamo, Italy, the Italcementi ITC Lab is intended to be an iconic building expressing Italcementi’s position of leadership and commitment to research and innovation in the use of concrete and reflecting its celebrated reputation for technical expertise. The structure is a benchmark in sustainable design, seeking to attain the first LEED platinum accreditation in Europe. The new building reinforces the boundaties of the triangular site and incorporates a program of technical and administrative spaces into two wings. Comprising two levels above grade and two basement levels including parking, the V-shaped configuration houses separate laboratory and administrative wings surrounding a central courtyard, which features a garden and provides service and underground parking access. Below-grade courtyards at the perimeter provide natural light to basement-level laboratory spaces and fresh air for the mechanical spaces and the garage. At the northeast corner of the building, which is also the terminating corner of the scientific park, a large covered public plaza forms the main entrance leading to a two-story skylit atrium. The central atrium houses public reception as well as security control and provides circulation space for both of the structure’s wings via two glass elevators and a dramatic ramp, both skylit and featuring views of Bergamo through the atrium’s double-height glass walls. The cantilevered and floating concrete roof of the ITCLab 20
creates a strong and elegant profile. In addition to the large skylights in the public spaces, the roof forms a virtual fifth acade perforated with a system of skylights directing natural light into offices, circulation corridors, and laboratory spaces. Natural light filters through the top floor into the interior spaces, providing illumination that changes throughout the day, while the interplay of natural light and shadow over distinctive curtain wall - composed of concrete elements developed by Italcementi specifically for this structure, visual frit, and clear glass animates the facade. (www.richardmeier.com)
Church Pope Giovanni XXIII – Mario Botta The new church dedicated to Holy Pope Giovanni XIII is located close to the 17th century church of San Alessandro Martire in the suburb of Paderno-Seriate south of Bergamo. The church with the squared ground floor is the center of the whole project site with a side length of 25 meters and a height of 23 meters. The bearing structure is in reinforced concrete, the facades are clad in natural stone slabs of Stone di Verona (split slabs),while the interior walls are covered with panels of gilded church pope giovanni xxiii wood (similar to the technique of gilded frames).The interior space offers itself as
a one and only volume shaped by the lateral wall, light flows in down along the walls from the four roof skylights. The same Verona stone characterizing the buildings exterior is also used, polished, in the interior as a continuity of the whole flooring shaping the plinth of the walls and the liturgy furniture. A stone clad twin apse completes the church space and offers a sculptural work with a crucifixion scene realised within the stone size of the cladding by the Italian artist Giuliano Vangi. (http://www.botta.ch)
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Assago Milano Fiori – Erik Van Egeraat Milanofiori North Business Park is one of the biggest developments in Europa in its kind. The masterplan for the area was developed in 2003 by Erick van Egeraat and specifically conceived to adress the rising demand for high quality offices in Milan.The entire development will be a self-contained entity covering 218.000 m2 and offers a variety of functions including offices, housing, commercial, retail and leisure facilities, a cinema, and a hotel. The seven office buildings along the A7 highway form an iconic ensemble that is visble from afar. They are the most representative part of the park and constitute the main entrance to the site. The buildings are positioned in such a way, that each offers broad views towards the different parts of the master-
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plan. While the two central buildings facing the entrance of the metropolitan line tend to create a more urban and vibrant atmosphere, the other five are interspaced at a greater distance, allowing the introduction of a large public spaces and gardens between them which contribute to the explicity green appearance of the Business Park. (www.erickvanegeraat.com)
Assago Milano Fiori – 5+1 The perimeter of the building forms a compact triangle, whereas the disposition of the volumes and the architectural design of the elevations are fragmented. Transparencies, opaquenesses and shading pixels, draw a line, either precise or blurred between the levels. The alternation of natural and artificial light makes people interact and change their perceptions. A big carved text scrolls continuously on two sides of the building, leaving a monumental feeling and an ironic solemnity to it. (www.5piu1aa.com)
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Assago Milano Fiori – Cino Zucchi The disposition on the ground and the typological layout of the U15 office building articulate and specify the general master plan guidelines in relationship to the specific features of the site and of the overall design of the open spaces. The large dimension of he building plot and of the maximum building envelope given by the master plan is interpreted by folding its perimeter inwards to generate a new layout which unites the advantages of an H-shaped scheme to that of a centralized one. The continuous perimeter “skin� which delimits the interior spaces is divided in several layers which donates depth and
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a strong light and shadow effect: the inner wall alternates a ribbon window band with an opaque one faced by anodized aluminum panels in natural warm grey, pale gold, light brown shades. The exterior system of brise-soleils in aluminum sheets folded in different profiles, pierced by an array of customdesigned holes and treated with different anodized natural colors protects the windows from the east and west low sun transforming the building in a sort of large tree-trunk with an iridescent bark. (http://www.zucchiarchitetti.com)
Porta Nuova – div arkitekter Porta Nuova reconnects the three projects, Garibaldi, Varesine and Isola, covering an overall surface of more than 290,000 square metres. The renovation and improvement of the urban texture is a natural development for the existing neighbourhoods. A pedestrian system was studied to involve green areas, piazzas, bridges, as well as a large park that seamlessly connects the different neighbourhoods efficiently and securely. A pre-existing industrial building was restored and converted to be the new headquarters of the Italian financial daily newspaper Il Sole 24 Ore. By demolishing the street facade of the original square building, a south-facing opening was created. The new building is U-shaped, with a vast central garden, a green hill hiding subterranean parking underneath. Bright-green sun-shading blinds on the outside of the glass facade animate the exterior. (www.rpbw.com)
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Sole 24 ore Headquarter – Renzo Piano When this building was designed the pre-existing structures were kept in mind: a portion of the former factory has been demolished, but the reinforced concrete skeleton and the foundation grid have been maintained. Two more floors formed by light steel structures have been added and foundations have been strengthened. The southwest wing and the inner part of the block, entirely occupied by warehouses, have been knocked down. The building consists of two side units and one central unit laid out around an urban park with different types of trees. The buildings are divided with transparent partitions, true windows that make the town and the internal garden inter-communicating. Each one The SOLE 24 ORE HEADQUARTER of the side units is divided into three parts, with functional nodes with elevators, staircases, lobbies and recreational areas, with external, glass-covered footpaths. (http://www.theplan.it)
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Plass til notater:
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Oktober 2013
LOGO BYGGUTEGRENSR
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