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Alcune fasi di cantiere, che evidenziano le strutture realizzate in legno lamellare. Stages in the building work highlighting the structures made of laminated wood.

orn after a long and painful labor due to bureaucratic, cultural and even political trials and tribulations, the new Rome Auditorium represents a great opportunity for a long overdue urban renewal. Like so many other Italian cities, Rome suffers from its inability to move beyond its own magnificent, yet cumbersome past. Institutions, politicians and administrators, do not seem to understand that a city is a complex organism and as such must renew itself to avoid devastating necroses. Even more than the building materials themselves, the Auditorium has been shaped by a foundation of ferocious controversy, endless debates and anything else that might affect, for better or worse, a structure long-awaited by most and doggedly opposed by a few powerful individuals. To defend his project from the flood of criticisms surrounding it, Piano had to bend over backwards and sometimes even resort to reckless metaphors to defend his ideas. For example, to convince the most skeptical, he called the halls “sound boxes”, and he justified the lead covering on the roofs as being dictated by all the Renaissance domes of the Rome cityscape — as if new architecture had to constantly camouflage itself to fit in with existing architecture to avoid imposing its identity too strongly. But not everything went as planned, and a few casualties were left on the battlefield. Indeed Piano was not free to act with his usual lightness and had to concede to some heavy Roman architectural characteristics in the form of ample walls and travertine strips, for the sake of an historicism that simply won’t go away. However, Piano adopted a thoughtful and deliberate layout for the three music halls, which he separated into three separate constructions, rather than as an integral part of a single building. The result is a construction that is more flexible in

its use, while maintaining a high level of acoustics, ensured by the cutting edge technological solutions employed. The three halls have seating capacities of 2,700, 1,200 and 700, each with its own musical characteristics in terms of use and function. The smallest hall is designed to offer the most flexibility thanks to its mobile floor and ceiling, allowing the creation of various sound modulations by adapting its volumetric configuration. The symmetrical division of the various buildings housing the three halls creates a large empty space. A sort of “fourth” unplanned auditorium that proves to be very useful as an open space capable of exalting the large dimensions of the halls, already affectionately and jokingly referred to as the “giant mouse” of an ideal computer designed to produce music on an urban scale. The “fourth” auditorium is actually an amphitheatre capable of hosting musical events that attract audiences three thousand strong. The whole is surrounded by green, and incorporates the relics of a Roman villa, discovered during the construction of the Auditorium. Called the “music factory” and “resounding architecture”, the complex is an urban center designed to attract audiences from well beyond the city limits. It is therefore a cultural landmark, but it also stitches back together an urban fabric that has been ripped apart by varying concentrations of housing developments and conditioned by a chronic lack of quality architecture. The Auditorium therefore becomes an emblematic event aimed at giving hope for a radical rebirth of architecture as a basis for a better quality of life. A means not just of producing good music, but also of creating a beautiful cityscape made of striking shapes and multiple polarities capable of integrating both economic development and social evolution in cultural solutions.


arcVision 9  

Un approfondimento sul concetto di limite. Da un lato la propensione tutta umana a superare ogni confine attraverso uno sviluppo continuo de...