Antinori Winery

Laura Andreini Introduction by Massimiliano Fuksas Presentation by Corrado Clini With essays by Piero Antinori Marco Casamonti Paolo Giustiniani Fabrizio Pucciarelli Massimo Toni Photographs by Pietro Savorelli with Benedetta Gori Leonardo Finotti Valentina Muscedra

Editorial project Forma Edizioni srl, Poggibonsi, Siena, Italy redazione@formaedizioni.it www.formaedizioni.it

Antinori Winery

Editorial realization Archea Associati

Architectural design Archea Associati

Editorial and publishing coordination Laura Andreini

Artistic supervision Marco Casamonti

Editorial staff Sara Benzi Maria Giulia Caliri Valentina Muscedra Graphic design Elisa Balducci Sara Castelluccio Mauro Sampaolesi Public relations Vittoria Bacci Offset graphics Art & Pixel, Florence, Italy Printing Forma Edizioni srl, Poggibonsi, Siena, Italy Photographic credits Pietro Savorelli Pp. 10, 18, 21, 32, 40, 42, 48, 50, 54, 64, 82, 83, 88, 90, 109, 110, 112, 114, 115, 118, 121, 122, 124, 125, 126, 128, 130, 132, 133, 134, 140, 143, 144, 146, 148, 150, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 170, 176, 177, 178, 179, 182, 184, 186, 188, 190, 192, 198, 200, 202, 206, 207, 208, 209, 210, 213, 226, 227, 229, 232, 233, 235, 238, 244, 245, 246, 250, 252, 255, 257, 259, 260, 264, 265, 267, 268, 270, 271, 272, 273, 274, 276, 277, 279, 281, 282, 284, 290, 291, 293, 294, 296, 297, 299, 304, 306, 309, 310, 312, 314, 315, 217, 318, 320, 322, 324, 326, 327, 328, 329, 330, 331, 332, 334, 335, 340, 346, 348, 350, 351, 352, 354, 356, 358, 361, 362, 363, 366, 367, 368, 369, 370, 374, 375, 376, 380, 381, 382, 385, 388, 390, 392, 404, 407, 408, 410, 412, 416, 418, 422, 424, 436, 437 Leonardo Finotti Pp. 131, 136, 151, 166, 168, 172, 173, 174, 175, 180, 216, 220, 221, 222, 223, 231, 236, 237, 240, 241, 247, 248, 249, 254, 262, 269, 288, 337, 342, 344, 359, 372, 379, 387, 394, 397, 417, 420, 426 Valentina Muscedra Pp. 113, 194, 196, 292, 302, 398, 400, 402, 403, 406 Archives of Archea Pp. 56, 62, 63, 68, 70, 72, 78, 79, 80, 81, 84, 96, 98, 99, 102, 106, 107, 108, 185 Satellite images provided by Microsoft ® Bing™ Maps Pp. 22, 24 Immagini TerraItaly™ © Blom Compagnia Generale Ripreseaeree spa - Parma - www.terraitaly.it Pp. 26, 28, 30 ASCFI, n. 008446, courtesy of the Archivio Storico of the City of Florence P. 34

©2013 Forma Edizioni srl, Poggibonsi, Siena, Italy All rights reserved. No part of this publication may be reproduced in any form or by any means without the prior permission in writing of the publisher.

First edition: February 2013 ISBN: 978-88-96780-40-4

Customer Marchesi Antinori

Engineering HYDEA

Building site supervisor Paolo Giustiniani Structural design AEI Progetti Design of plants M&E Management & Engineering General contractor Inso

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Introduction Massimiliano Fuksas

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Presentation The example of sustainable development Corrado Clini

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Architecture on a landscape scale Laura Andreini From the city of stone to landscapes of earth Piero Antinori Artifice and nature. The imaginary as context Marco Casamonti

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EXCAVATION AS SEARCH OF A LOST IDENTITY 54 66 68

Wits at the service of architecture Paolo Giustiniani Building a dream Fabrizio Pucciarelli Finding a new equilibrium Massimo Toni THE RECONSTRUCTION OF A LANDSCAPE

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Moving in the earth Laura Andreini The access roads and driveways The entrance hall and the spiralling staircase The large areas for loading and unloading of goods A long itinerary underneath the vineyards Working among the vines Laura Andreini A new headquarters to celebrate the return to the earth and to the country offices / bookshop and shop / museum / auditorium / stairwells The large vaulted spaces barrique rooms / barrel room / vat room / house reserve / connection towers The cut dedicated to the production structure restaurant / vin santo cellar / bottling area The essence of Chianti Classico Laura Andreini The cut in the vineyards and the roof as new land APPARATUSES

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Credits Dimensional figures Biography

Architecture on a landscape scale Laura Andreini*

(*) Architect, researcher at the Faculty of Architecture in Florence in Architecture and Urban Design, co-founder of the Archea Associati firm

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It is not easy to make a critical interpretation of a project when one has participated in and contributed actively to it. However, while the proximity may limit the objectivity of the judgment, it is important to keep in mind that it has taken a long time to complete the works and that the story, which began in 2002 (Archea was involved in 2004), is sufficiently extended in time to reduce the risks of a narrow and hasty reading. This distance in time, which may be considered “sidereal” in some parts of the world, appears as almost astonishingly rapid in Italy; eight years between ideation and construction, eight years in which a lot has been written and said about the project – a great many articles, publications, participations in exhibitions and conventions. The sense of this analysis should therefore represent an opportunity for reflection, conducted with the objectivity of a knowledge that does not represent a fact of merit but the starting point of an essay written to tell, in hindsight, about a project that sees this condition as the reason and ultimate aim of its design. In fact, if we think carefully, the accessory conditions of this work may perhaps prove more interesting than its main objective, so declared and known as to almost represent a manifesto for an architecture that, rejecting the inappropriate scale of the building in order to relate to that of the landscape, the gentle and fascinating surroundings characterized by the undulating and sinuous profile of the hills studded by cypresses, forests, vineyards, roads and paths along the ridges, a scattering of small churches and farmhouses and once in a while a mansion, that has represented the organizational essence of the old agricultural economic context of the Chianti region. Probably, to take first things first, it would be worthwhile to remember that the present project was inspired by the customer’s desire to realize a work that would not only meet the production requirements but also bear witness to the family’s close bonds to the land and to the vineyards; this transition has been - as Piero Antinori will explain in the book “Il profumo del Chianti”, a short but significant excerpt of which is included in this volume – perceived by the firm and the family as an epochal return to the countryside, a reunion of the financial and commercial part with that of the production sector. However, this relocation of the brain of the company from central Florence, from the heart of Renaissance, far from the stones shaped by Giuliano da Maiano who commenced planning Palazzo Antinori and even further from Baccio d’Agnolo who completed the garden façade so admirably, cannot be considered as a mere organizational rearrangement of the firm, because it inevitably becomes laden with those significances, those memories and, on a cultural level, those historical-critical contents that seem to return to the starting point, to the Renaissance, the time when – with the family’s entry in the Guild of Wine Merchants, dated by documentary proof to 1385 – the long and famous saga of the Antinori family and its wines began. It is known that that certain combination between tradition and modernity, attention to the past, a revival of the classical tradition associated with a more contemporary interpretation of it represents, at the same time, the most authentic cipher of Humanism and the truest and most profound credo of the growing and making of wine, which owes its value precisely to the ability with which the old tradition of vintning, protected and transmitted with devotion, is combined with the innovativeness of a group that has more than seven hundred years of history to its name. It is therefore clear that the project could not be understood as the construction of a new headquarters or, as one had erroneously hypothesized in an initial phase in which Archea had not been involved, as the realization of a new Palazzo

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ANTIQUE WINERY BARDELLA

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PÈPPOLI ESTATE

NEW WINERY MARCHESI ANTINORI NEL CHIANTI CLASSICO

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BADIA A PASSIGNANO ESTATE

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Don Stefano Bonsignori, plan of Florence, detail of the neighbourhood where Palazzo Antinori is located, 1584

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From the city of stone to landscapes of earth Piero Antinori

Finally, I would like to tell a story that is exactly halfway between the Tuscan roots and the wine of tomorrow. It is about a hill… and about something my brother Lodovico said some years ago: «so what if the French have their châteaux? Wine castles? We will fill our countryside with wineries that are masterpieces of architecture.» This is nothing but a new version of what my father Niccolò said as he was wringing his brains to find a name for his first new wine, proudly challenging the Bordeaux and the whole world: «So what if they have their châteaux? We have our villas!» A lot was about to change both then, in the Twenties of last century and today, in the second decade of the present.

San Casciano Val di Pesa is the historical heart of the Marchesi Antinori wineries. This is where grandfather Piero decided to build the first structures for making and aging wine: which were large, efficient and well connected to the city; a great, modern idea. It was here, between the village of San Casciano Val di Pesa and an oak and beech forest, just beyond the river Pesa, the natural border of the Chianti Classico district, that Doctor Charlemagne’s bottles of badly fermented sparkling wine exploded along with the machine-gun fire of the retreating Germans, on the day that I understood what I wanted to do in my life.

It is from here that our bottles have set out on their journey, bound for every corner of the world, for fifty years. After being washed and dried, and then filled and packaged, by generations of local cellarmen and very capable women who glued the labels on one by one, and eventually packaged by the first mechanical systems with transportation belt. The buildings are surrounded by a rusting little forest of wine tanks from various periods, in different materials and dimensions. It is in San Casciano that we have received, in the first half of last century, the best grapes from Chianti Classico, once my grandfather and father had negotiated with brokers, and where we have then turned them into hundreds and hundreds of litres of outstanding wine. They have been tasted, praised and sometimes rejected in the large wine-tasting hall with trussed ceiling, by thousands of wine journalists of every language and school of thought. Finally, we have sent them to spread their aromas and flavours – in packages of six and in demijohns, kegs and boxes – from Florence to Montevideo, from Moscow to Toronto.

This is where we, five centuries after our first barrels, turned our winemaking into a business. Palazzo Antinori, in Piazza Antinori in Florence, is on the contrary the address to which our importers and distributors everywhere in the world send their packages, letters and cables; the “Florentine château” that still ties us to our identity, like a stone anchor, while the world is turning faster and faster. It is a place where I am surrounded by memories of my ancestors, as I write, discuss and talk on the phone.

Above my head I have the wooden beams inlaid by the architect Giuliano da Maiano, a follower of Brunelleschi, whom Lorenzo the Magnificent recommended to my forefathers when they needed to complete their new home.

I go outside to get a breath of fresh air in the courtyard, and get lost among the grey of the stone and the red of the brick, the white of the plasterwork and the black of the old wood, in the shade of a large magnolia. This is our little fortress on the Arno, lost for some decades and reconquered by my father, with the rooms where my ancestors have lived for centuries, deciding, sometimes at the dining table, the politics of Florence and the trade routes of Europe, where they have invited magistrates and high prelates, generals and crowned heads, pouring them a couple of glasses of Chianti and settling business matters. Together, the palazzo and the wine cellars in Val di Pesa are

From: Piero Antinori, Il profumo del Chianti - Storia di una famiglia di vinattieri, Arnoldo Mondadori Editore, Milan, 2011, pp. 195-198, 200-203

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Artifice and nature.

The imaginary as context Marco Casamonti*

Architectural design is always the result of a calibrated and difficult tension between opposed elements that are at once mutually attracted and repelled, relating to one another rhetorically in an oxymoron that rather than reflecting a contradiction, represents the most authentic symptom of harmony and equilibrium. By this Apollonian and Dionysian path they complete one another formally, as the masses and voids of a volumetric alternation become city and urban system; likewise, light and shade define the sense of a sequence of day and night without which we could not conceive life, the changing of seasons or the flow of time.

However, this dialectic and dual relationship is first and foremost based, as far as architecture is concerned, on the ancient and permanent confrontation between artifice and nature. An encounter, but perhaps it would be more appropriate to speak of a clash, between different entities, the one eternally subjected to the other, to the point of the extreme conviction of conceiving the man-made as an unequal attempt to challenge a nature that is considered perfect.

The search for the natural archetype and the imitation of the perfection of “God-given� beauty has been carried to such extremes over the centuries as to imagine the abstract example of the primitive hut hypothesized in the Eighteenth century by Marc-Antoine Laugier as a natural, perfect and imitable model, in order to unravel the inextricable tangle of beauty in architecture.

On the other hand, from the classical age to the modern, the equilibrium in question has become completely unbalanced, with the result of a relationship conceived only in terms of mimesis. The project of the Antinori Winery, following the Kantian approach in recognizing the utility value of architecture as an art that serves a purpose, namely to shelter, proposes a vision that attempts neither the ancient and unfeasible path of imitation-subjection of the natural environment nor that of an arrogant indifference allowing anyone to act without paying attention to the context and its motives.

The controversy that moderns and academics have never overcome is resolved in the pragmatic comprehension of those who consider land as a non-reproducible resource and who, feeling the burden of its constant consumption, testify to the need for an attentive and calibrated use of the landscape in which works of architecture are inserted on the most appropriate scale.

Moreover, the project of the Winery shows the way towards a contemplative relationship with, rather than an emulation of, the natural landscape where the objective is not the value of the copy or the imitation, but rather the possibility to interpret the places without altering hard-won equilibriums, as in the case of the wholly anthropized landscape of Chianti Classico. If there is neither imitation nor indifference, what would a correct relationship between nature and man-made consist of today? Perhaps, romantically, that of a dominating and pervasive nature?

This is not what we have sought to achieve with the project for Bargino, because vineyards and constructions do not attempt, or propose, any supremacy or privileged position, instead pursuing the sense of a profound sharing, inspired by a joint cause that sees the land in the centre of an aesthetic, ethical and finally economic-productive model.

(*) Architect, Professor of Architecture and Urban Design at the University of Genoa, co-founder of the Archea Associati firm Opposite page View from the entrance hall to the overhang of the roof terrace

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Wits at the service of architecture Paolo Giustiniani*

The decision to build a new winery in Bargino was made in 2001, as it had become necessary to modernize the old Antinori winery and move it out of the village, even if one wanted to remain within the municipality of Casciano Val di Pesa.

The need to define an architectural model in line with the typological metamorphoses that have, in the last few years, changed wineries from production premises housed by rural buildings or wings of stately mansions to complex multifunctional buildings has guided the technological and constructive choices which have led to the realization of the new Antinori “home� in the Chianti Classico district.

Architecture and engineering are closely intertwined in the project, far beyond what appears to the eye, in ways that may seem simple with respect to the true constructive complexity of the work.

No element or part of the building has been made with standardized production and construction routines; the materials used are few and poor, but it has taken a lot of research to harmonize them with the natural charm of the surrounding countryside.

The building, most of which is below ground, features an area of almost 40,000 square metres, not including the underground driveways that form an essential part of the aggregate. The removal of the soil and the management of the excavated material have proven to be a major challenge: it has been necessary to remove 380,000 cubic metres of soil from the hill, which corresponds to more than 35,000 truckloads, and to find definitive and temporary storage areas for the soil that was to be reutilized once the works were complete. For a long time the building site has looked like a deep cut in the landscape, an impressive, more than 15 metres deep excavation with an almost 500 metres long front supported by large consolidation structures forming a more than 20 metres tall partition, built from 8000 cubic metres of reinforced concrete, with 8 kilometres of sub-horizontal micro-drains and a battery of large, 28 metres deep wells dug in order to deviate and channel the water passing through underground veins that have surfaced during the works.

As the construction works have progressed, the wound in the terrain has begun to heal; the enormous volume of the winery has been gradually concealed as the building site has neared completion. Every cast of concrete or erection of metal structures have represented a technological and constructive challenge: 35,000 cubic metres of concrete, 3.5 million kilos of reinforcement iron, more than 2 million kilos steel structure, 35,000 square metres of built floor slabs.

The construction of the interiors have proceeded discreetly, almost as if one wanted this phase to remain private; scenic vaults in earthenware have gradually formed a sequence: vat room, barrique room and barrel room.

As the works have advanced, the structures have reshaped the landscape; it has been quite an experience to see the project drawings and images become reality, as the winery acquired the desired form, increasingly light and respectful of the environment. The galleries, the parking area, the offices, the museum, the auditorium, the production areas, the laboratory, the canteen, the restaurant, the technological unit and the plants are today almost invisible from without.

With time, the area has reacquired its original form; it is as if the concrete and iron has dematerialized and the roof of the winery has been covered with the earth deposited along the edges of the building site (more than 100,000 cubic metres) and vineyards have been planted on top of it.

In spite of our long experience with designing complex works with sophisticated technological contents, the realization of a building with a roof supporting vineyards and projecting 21 metres, and the construction of a free-standing helical entrance stair in steel weighing about 105 tons with a more than 30 metres tall spiralling development, has represented a unique experience that is unlikely to repeat itself.

(*) Engineer, president and CEO of Hydea Opposite page The Antinori Winery and its insertion in the side of the hill, seen from an aerial view above Bargino towards Tavarnelle in the final construction phase Next page The area of the site during the first excavation and foundation work

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1. Terrace 2. Restaurant 3. Keeper’s house 4. Grape drying 5. Vinsanto cellar 6. Hopper 7. Oil bottling 8. Warehouse 9. Infirmary 10. Bottle ageing 11. Wine bottling 12. Yard 13. Technical room 14. Olive orchard parking lot

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These pages, preceding pages and following pages The area for loading and unloading of goods which gives access to the barrique cellars, therefore named “barrique square�, situated on the north side of the architectural complex

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Working among the vines

The architectural complex faces the surrounding valley through two cuts; the first conceals volumes closed by large glazed fronts, while the second, upper one, is closed by walls and gates in Corten steel; this is where the production areas are to be found.

These artificial openings in the original hill surface provide the two buildings comprising the project with a view of the exterior. The first, lower area is a building comprising several floors, with administrative offices, a museum, a shop and an auditorium; it is placed alongside the vaulted areas behind, which house the barrique room, the barrel room and the vat room below. The second consists of a one-floor building which houses the production and storage areas, the dessert wine cellar and the olive oil press; alongside, only united by the projecting roof, the restaurant is to be found. The two wings are connected by means of two enormous towers excavated in the earth, covered by a sequence of stair ramps in Corten steel sheet that cross large empty spaces.

The administrative activities and the areas reserved for visitors are distributed on the two upper levels of the multi-story building, which are lit by inner courts whose lateral walls are in glass, and thus transparent. This applies to all partitions between the rooms in the interior, all of which are in glass, screened by terracotta jealousies. Beyond the offices, the glazed fronts form a visual connection with the museum and the shop. Making the space accessible to wine lovers and aficionados, as well as anyone curious to visit it, and telling the story about hundreds of years of history and traditions of the Antinori family has called for the ideation, planning and construction of exhibition premises divided in sections: a permanent one featuring heritages, objects and relicts owned by the family, and another temporary one in which exhibitions and other events may be presented. In addition to distribution corridors, stairwells installed in carefully designed cylindrical light-wells and the bathrooms, the only area which is not immediately visible is the auditorium, a multimedia space where it is possible to hold meetings, seminaries and conferences with 186 persons, in a kind of artificial vineyard surrounded by walls faced with oak lists. The volume formed by these two levels opens to the landscape through the first cut which is visible from the exterior, and which leads to the spacious terrace shaded by the large and imposing projection on the roof. In addition to the transparency of the glass, the spatial continuity between interior and exterior is favoured by the choice of facing material, namely terracotta which is used consistently both in the interior and in the outdoor area, as floor and facing all the way to the ceiling; it continues, “earthily”, towards the vineyards that seem to continue growing inside the building.

The most hidden areas, those furthest away from the exterior, contain the core of the aggregate. In fact, the heart of every winemaking firm is its “cellar”, the deepest and innermost part of the building, shielded from sunlight and rapid changes in temperature. In addition to these characteristics, which are indispensable and necessary to provide the best microclimate for the wine to age in, the space assumes a mystical, sacred appearance which helps the visitor to appreciate the value of what he or she is observing, and to concentrate. The barrique rooms and vat rooms are distributed along a system of longitudinal vaults of variable section, faced in terracotta; their varying dimension contributes to render the environment dynamic, forming highly innovative spaces for storing wine: the smallest, the barrel room containing the large barrels, the largest one which is the barrique room with the smaller barriques, and the longest room alongside the partition with the large wine fermentation vats in stainless steel. The single-floor building on the upper level is dedicated to production activities; among the most important spaces and functions we find the hopper, where the grapes are pressed; the must passes to the room below by gravity. Also in this case it is a matter of a deep cut in the side of the hill, that makes it possible to conceal the production areas among the vineyards, in order to make the work areas blend into the area where the wine is produced, those vineyards whose rows form the pattern of the anthropized landscape of the Chianti Classico district.

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Aerial view from east to west of the new Marchesi Antinori Winery in the Chianti Classico region

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Cross section of system of vaults that enclose the spaces of the bottle and vat cellars Preceding pages Glazed tasting room suspended over barrique cellar

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The structure has a first row that runs across the building, braced against the wind by tubes on which the second row of UPNs is clamped. The beams’ curved sections are calendered to follow the curved progression of the terracotta cladding.

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Credits

Location Bargino, San Casciano Val di Pesa, Florence Programme Winery, offices, museum, auditorium, restaurant, viability, manoeuvring and green areas, depuration Cost € 85,052,831 (excluding oenological plants and landscaping) Chronology Beginning of design 2004 Opening of building site 2007 Completion date 25 October 2012 Customer Marchesi Antinori President Piero Antinori Managing Director Renzo Cotarella Project manager for the Customer Albiera Antinori Coordination Giovanni Donato Architectural design Archea Associati Laura Andreini Marco Casamonti Silvia Fabi Giovanni Polazzi Collaborators in the architectural design Maria Abbracciavento Enrico Ancilli Andrea Andreuccetti Andrea Antonucci Niccolò Balestri Domenico Giovanni Cacciapaglia Luana Carastro Elena Catalano Antonella Dini Marco Gamberi Francesco Giordani 430

Li Guojin Paolo Invidia Lorenzo Malavasi Valentina Malta Alice Marzorati Elena Masci Mattia Mugnaini Marco Orto Michelangelo Perrella Alessandro Riccomi Gabriele Sestini Patrizia Valandro Feng Xiancheng

Geology Marco Bastogi Paolo Canuti

Engineering, general coordination and urbanistic and administrative procedures HYDEA

Paolo Giustiniani Alberto Baccani Marco Befani Andrea Deserventi Enzo Floridi Giuliano Griffi Luciano Luciani Stefano Monni Maurizio Papini Zeno Romano Building site supervisor Paolo Giustiniani Assistant building site supervisor Zeno Romano Safety coordinator Lapo Lombardini (project) Laura Mezza Giorgio Salimbene (execution)

Emex Engineering

Stefano Venturi Marchesi Antinori

Geotechnical designer Marco Sacchetti

Luca Tagliaferri Paolo Mariotti

Geotechnical consultants Studio Colleselli Francesco Colleselli Stefano Trevisan

Interior architecture and furniture

Structural design AEI Progetti

Artistic supervision Marco Casamonti Assistant artistic supervisor Francesco Giordani

Oenological plants

Design manager Massimo Toni Niccolò De Robertis Stefano Contri Luca Francalanci Marco Pratellesi Stefano Valentini Massimo Capigatti Andrea Cariaggi Stefano Cariaggi Francesco Del Gaudio Silvia Minutillo Domenico Narcisi Stefano Niccoli Chiara Remorini Lorenzo Rossetti Daniele Sani Riccardo Simeone Inspector of structures Gianni Bartoli Design of plants M&E Management & Engineering

Paolo Bonacorsi Stefano Mignani Alessandro Panichi Francesco Pesucci

Archea Associati

Laura Andreini Marco Casamonti Silvia Fabi Giovanni Polazzi Coordination of furniture works Francesco Giordani Graphic design Archea Associati Laura Andreini Elisa Balducci Sara Castelluccio Katia Carlucci Caroline Fuchs Vitoria Muzi Mauro Sampaolesi Lara Tonnicchi Ideation of the museology part Alessia Antinori Curator of temporary installations and exhibitions Chiara Parisi Invited artists Rosa Barba Jean-Baptiste Decavèle Yona Friedman Origin of works included in exhibition Antinori Family Collection Tornabuoni Arte Cultural project manager Ilaria Barbieri Marchi Chiara Rusconi

General contractor Inso Managing Director Fabrizio Pucciarelli Project manager Graziano Voltolini Building site manager Antonio Portino Assistant building site manager Pasquale Olmo Systems manager Antonio Salvietti Systems consultant Silvano Risaliti Technical staff Filippo Schipa Raffaele Di Marco Francesco Di Marco Antonella La Camera Giacomo Bertinelli Antonio Rossi Gaetano Notaro Giuseppe Piemontese Gianni Pepe

Companies and suppliers which have contributed to the realization of the building site 3M SERRANDE - Installation of sheet metal, shutters, grids 4 EMME - Execution of load tests 4 M - Installation of glazed partitions and furniture ABA ARREDAMENTI - Supply and installation of furniture ABDELALIM - Execution of insulation behind vaults ADECCO ITALIA - Installation of fixed glass panes ADVERTISING & BUILDING - Plasterwork AERTHECNO - Conduits for mechanical systems A. G. - Blacksmith work AHMED EDILIZIA - Plasterwork ALFA SYSTEM - Installation of truss beams ALMA POSA - Assembly of shelves in terracotta ALPAGIVA - Execution of general construction works ALPI - Supply of formwork for works in reinforced concrete ANTINORI AGRICOLA - Working of land for vineyards ASFALTI RUGE - Execution of waterproofing of walls in contact with earth ASTEC - Assembly of kitchens AUROMONT - Assembly of casings AUROPORT - Construction of casings A.R. COSTRUZIONI - Handling of earth AVIT - Porterage, handling of materials and cleaning of building site BAIOCCO - Canteen kitchen BETON RAPID - Supplier of heavy metal structures BESANA - Supplier of carpets BFF - Assembly of canteen kitchen BINIMPIANTI - Systems with pipes in Pead BODNARESCU - Installation of walls BONGIO - Faucets bathrooms BORSANI GIANFRANCO - Assembly of laboratory furniture BREBE - Installation of safety harnesses

BRIXIA - Welding of monumental staircase BUCHER VASLIN - Supply and installation of hopper and grape presses CAF - Assembly of prefabricated structures CAPITAL FERRO - Supply of iron CARMONT - Assembly of metal structures CARPENTERIA PIEMME - Installation of metal structures CASTELLI - Supply of chairs for employees CATENA SERVICES - Execution of insulation behind vaults CENTRO ARREDOTESSILE - Systems for curtains and textiles for floors CEIPO - Supply of furniture elements in terracotta CESAF - Installation of geotechnical monitoring system CHIEFARI - Handling of earth CHIMERA SERVICE - Assistance in assembly of works in iron CHIMI - Installation of gates in REI Corten C. M. CESTELLI & NUTI - Installation of machinery for incoming grapes CIELO - Ceramic washbasins and toilets CITYFER - Installation of metal structures COIFER - Insulation of pipes COLIMAR - Installation of metal structures COLLICELLI - Execution of plants and sub-services CONSORZIO ETRURIA - Coordination of building site CONSULENTE ENOLOGIA - Assembly and testing of unitary filling element COOPSERVICE - Assembly of partitions for offices COPAMEC - Installation of REI doors of NINZ type COPARI - Waterproofing of roof CORTE APERTA - Assembly of terracotta ceiling and installation of glass panes CPM - Metal structure works CRAWFORD HAFA - Assembly of rapidly-folding doors CREMONESE IMPIANTI - Air conditioning system CRISTMONT - Assembly of heavy metal structures CSP - Structures in prefabricated elements in pre-compressed reinforced concrete 431

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