”LESS IS MORE.” LUDWIG MIES VAN DER ROHE | “GOOD ARCHITECTURE IS NOT SOMETHING YOU CAN PUTIN WORDS, BUT ONLY I RU TSUKAMOTO | “WHILE ARTISTS WORK FROM THE REAL TO THE ABSTRACT, ARCHITECTS MUST WORK FROM THE ABSTRACT TO TION, SOME DISCIPLINE, SOME RULES. WHEN YOU HAVE NO RULES, THEN YOU START TO BUILD YOUR OWN RULES.” RENZO PIANO THAT THE MATERIAL DOESN’T NEED TO BE STRONG TO BE USED TO BUILD A STRONG STRUCTURE. THE STRENGTH OF THE STRUCTU BUT CREATING A SPACE IS NOT AUTOMATICALLY DOING ARCHITECTURE. WITH THE SAME SPACE, YOU CAN MAKE A MASTERPIECE SEE AROUND YOU, WHAT EXISTS ON THE LAND, AND THEN USE THAT KNOWLEDGE ALONG WITH CONTEMPORARY THINKING TO NATURAL LIGHT.” LOUIS KAHN | “I’VE ALWAYS FELT THAT THE MOST IMPORTANT THING IS FINDING A WAY OF ESCAPING THE FRA RECT AND MAGNIFICENT, OF FORMS ASSEMBLED IN THE LIGHT.” LE CORBUSIER | I DON’T THINK THAT ARCHITECTURE IS ONLY ABO HADID | “ALL ARCHITECTURE IS SHELTER, ALL GREAT ARCHITECTURE IS THE DESIGN OF SPACE THAT CONTAINS, CUDDLES, EXALTS, O “SURPRISE IS KEY IN ALL ART.” OSCAR NIEMEYER | “MY BUILDINGS ARE MORE FAMOUS THAN ME.” JEAN NOUVEL | “EVERY ONE OF MY LOGICAL.”KENZO TANGE | “ESCAPE FROM THE ARCHITECTURE GHETTO IS ONE OF THE MAJOR DRIVERS AND HAS BEEN FROM THE MATERIAL. I BELIEVE ARCHITECTURE IS ABOUT.” PETER ZUMTHOR | “ANY WORK OF ARCHITECTURE THAT HAS WITH IT SOME DISCUSS THE INSIDE OUT.” FRANK GEHRY | “ARCHITECTURE IS INVENTION.” OSCAR NIEMEYER” | ”LESS IS MORE.” LUDWIG MIES VAN DER RO PROPOSAL FOR ARCHITECTURE IS A NEW GENERATION OF OLD TYPOLOGIES.” YOSHIHARU TSUKAMOTO | “WHILE ARTISTS WORK FREEDOM, THEN YOU ARE IN TROUBLE. IT’S MUCH BETTER WHEN YOU HAVE SOME OBLIGATION, SOME DISCIPLINE, SOME RULES. W PUT TWO BRICKS TOGETHER. THERE IT BEGINS.” LUDWIG MIES VAN DER ROHE | “I BELIEVE THAT THE MATERIAL DOESN’T NEED TO B THE MATERIAL.” SHIGERU BAN | “SPACE, SPACE: ARCHITECTS ALWAYS TALK ABOUT SPACE! BUT CREATING A SPACE IS NOT AUTOM CANNOT SIMPLY PUT SOMETHING NEW INTO A PLACE. YOU HAVE TO ABSORB WHAT YOU SEE AROUND YOU, WHAT EXISTS ON “GOD IS IN THE DETAILS.” LUDWIG MIES VAN DER ROHE | “A ROOM IS NOT A ROOM WITHOUT NATURAL LIGHT.” LOUIS KAHN | “I’V WITH WHICH I AM BURDENED.” ARATA ISOZAKI | “ARCHITECTURE IS THE LEARNED GAME, CORRECT AND MAGNIFICENT, OF FORM ENCLOSURE. IT SHOULD BE ABLE TO EXCITE YOU, TO CALM YOU, TO MAKE YOU THINK. ZAHA HADID | “ALL ARCHITECTURE IS SHEL CE.”PHILIP JOHNSON | “WE HAVE TO BASE ARCHITECTURE ON THE ENVIRONMENT” TOYO ITO | “SURPRISE IS KEY IN ALL ART.” OSC OURNEY.” ALVAR AALTO | “NEVERTHELESS, THE BASIC FORMS, SPACES, AND APPEARANCES MUST BE LOGICAL.”KENZO TANGE | “ESC WORK A LITTLE BIT LIKE A SCULPTOR. WHEN I START, MY FIRST IDEA FOR A BUILDING IS WITH THE MATERIAL. I BELIEVE ARCHITECTUR T SHOWS THAT PEOPLE ARE INTERESTED, PEOPLE ARE INVOLVED.” RICHARD MEIER | “I WORK FROM THE INSIDE OUT.” FRANK GEHRY METHING YOU CAN PUTIN WORDS, BUT ONLY IN ROOMS, VOLUME SAND VOIDS.”MVRDV | “OUR PROPOSAL FOR ARCHITECTURE I CHITECTS MUST WORK FROM THE ABSTRACT TO THE REAL.“ STEVEN HOLL | “IF YOU HAVE TOTAL FREEDOM, THEN YOU ARE IN TRO START TO BUILD YOUR OWN RULES.” RENZO PIANO | “ARCHITECTURE STARTS WHEN YOU CAREFULLY PUT TWO BRICKS TOGETHER STRONG STRUCTURE. THE STRENGTH OF THE STRUCTURE HAS NOTHING TO DO WITH STRENGTH OF THE MATERIAL.” SHIGERU BA WITH THE SAME SPACE, YOU CAN MAKE A MASTERPIECE OR CAUSE A DISASTER.” JEAN NOUVEL | ”YOU CANNOT SIMPLY PUT SOM KNOWLEDGE ALONG WITH CONTEMPORARY THINKING TO INTERPRET WHAT YOU SEE.“ TADAO ANDO | “GOD IS IN THE DETAILS. MPORTANT THING IS FINDING A WAY OF ESCAPING THE FRAMEWORK OR AESTHETIC CONSCIOUSNESS WITH WHICH I AM BU CORBUSIER | I DON’T THINK THAT ARCHITECTURE IS ONLY ABOUT SHELTER, IS ONLY ABOUT A VERY SIMPLE ENCLOSURE. IT SHOULD THE DESIGN OF SPACE THAT CONTAINS, CUDDLES, EXALTS, OR STIMULATES THE PERSONS IN THAT SPACE.”PHILIP JOHNSON | “WE MORE FAMOUS THAN ME.” JEAN NOUVEL | “EVERY ONE OF MY BUILDINGS BEGINS WITH AN ITALIAN JOURNEY.” ALVAR AALTO | “NE TO IS ONE OF THE MAJOR DRIVERS AND HAS BEEN FROM THE VERY BEGINNING.” REM KOOLHAAS | “I WORK A LITTLE BIT LIKE A SC WORK OF ARCHITECTURE THAT HAS WITH IT SOME DISCUSSION, SOME POLEMIC, I THINK IS GOOD. IT SHOWS THAT PEOPLE A OSCAR NIEMEYER” | ”LESS IS MORE.” LUDWIG MIES VAN DER ROHE | “GOOD ARCHITECTURE IS NOT SOMETHING YOU CAN PUTIN W LOGIES.” YOSHIHARU TSUKAMOTO | “WHILE ARTISTS WORK FROM THE REAL TO THE ABSTRACT, ARCHITECTS MUST WORK FROM TH SOME OBLIGATION, SOME DISCIPLINE, SOME RULES. WHEN YOU HAVE NO RULES, THEN YOU START TO BUILD YOUR OWN RULES ROHE | “I BELIEVE THAT THE MATERIAL DOESN’T NEED TO BE STRONG TO BE USED TO BUILD A STRONG STRUCTURE. THE STRENGTH ABOUT SPACE! BUT CREATING A SPACE IS NOT AUTOMATICALLY DOING ARCHITECTURE. WITH THE SAME SPACE, YOU CAN MA ABSORB WHAT YOU SEE AROUND YOU, WHAT EXISTS ON THE LAND, AND THEN USE THAT KNOWLEDGE ALONG WITH CONTEM NOT A ROOM WITHOUT NATURAL LIGHT.” LOUIS KAHN | “I’VE ALWAYS FELT THAT THE MOST IMPORTANT THING IS FINDING A W THE LEARNED GAME, CORRECT AND MAGNIFICENT, OF FORMS ASSEMBLED IN THE LIGHT.” LE CORBUSIER | I DON’T THINK THAT AR MAKE YOU THINK. ZAHA HADID | “ALL ARCHITECTURE IS SHELTER, ALL GREAT ARCHITECTURE IS THE DESIGN OF SPACE THAT CONTA RONMENT” TOYO ITO | “SURPRISE IS KEY IN ALL ART.” OSCAR NIEMEYER | “MY BUILDINGS ARE MORE FAMOUS THAN ME.” JEAN NOU APPEARANCES MUST BE LOGICAL.”KENZO TANGE | “ESCAPE FROM THE ARCHITECTURE GHETTO IS ONE OF THE MAJOR DRIVERS AN BUILDING IS WITH THE MATERIAL. I BELIEVE ARCHITECTURE IS ABOUT.” PETER ZUMTHOR | “ANY WORK OF ARCHITECTURE THAT HAS W MEIER | “I WORK FROM THE INSIDE OUT.” FRANK GEHRY | “ARCHITECTURE IS INVENTION.” OSCAR NIEMEYER” | ”LESS IS MORE.” LUDW VOIDS.”MVRDV | “OUR PROPOSAL FOR ARCHITECTURE IS A NEW GENERATION OF OLD TYPOLOGIES.” YOSHIHARU TSUKAMOTO | “W YOU HAVE TOTAL FREEDOM, THEN YOU ARE IN TROUBLE. IT’S MUCH BETTER WHEN YOU HAVE SOME OBLIGATION, SOME DISCIPLIN YOU CAREFULLY PUT TWO BRICKS TOGETHER. THERE IT BEGINS.” LUDWIG MIES VAN DER ROHE | “I BELIEVE THAT THE MATERIAL DOE STRENGTH OF THE MATERIAL.” SHIGERU BAN | “SPACE, SPACE: ARCHITECTS ALWAYS TALK ABOUT SPACE! BUT CREATING A SPACE NOUVEL | ”YOU CANNOT SIMPLY PUT SOMETHING NEW INTO A PLACE. YOU HAVE TO ABSORB WHAT YOU SEE AROUND YOU, W TADAO ANDO | “GOD IS IN THE DETAILS.” LUDWIG MIES VAN DER ROHE | “A ROOM IS NOT A ROOM WITHOUT NATURAL LIGHT.” CONSCIOUSNESS WITH WHICH I AM BURDENED.” ARATA ISOZAKI | “ARCHITECTURE IS THE LEARNED GAME, CORRECT AND MAGNI A VERY SIMPLE ENCLOSURE. IT SHOULD BE ABLE TO EXCITE YOU, TO CALM YOU, TO MAKE YOU THINK. ZAHA HADID | “ALL ARCHITEC THAT SPACE.”PHILIP JOHNSON | “WE HAVE TO BASE ARCHITECTURE ON THE ENVIRONMENT” TOYO ITO | “SURPRISE IS KEY IN ALL A TALIAN JOURNEY.” ALVAR AALTO | “NEVERTHELESS, THE BASIC FORMS, SPACES, AND APPEARANCES MUST BE LOGICAL.”KENZO TAN OLHAAS | “I WORK A LITTLE BIT LIKE A SCULPTOR. WHEN I START, MY FIRST IDEA FOR A BUILDING IS WITH THE MATERIAL. I BELIEVE AR S GOOD. IT SHOWS THAT PEOPLE ARE INTERESTED, PEOPLE ARE INVOLVED.” RICHARD MEIER | “I WORK FROM THE INSIDE OUT.” FRA NOT SOMETHING YOU CAN PUTIN WORDS, BUT ONLY IN ROOMS, VOLUME SAND VOIDS.”MVRDV | “OUR PROPOSAL FOR ARCHITEC ARCHITECTS MUST WORK FROM THE ABSTRACT TO THE REAL.“ STEVEN HOLL | “IF YOU HAVE TOTAL FREEDOM, THEN YOU ARE IN TR START TO BUILD YOUR OWN RULES.” RENZO PIANO | “ARCHITECTURE STARTS WHEN YOU CAREFULLY PUT TWO BRICKS TOGETHER STRONG STRUCTURE. THE STRENGTH OF THE STRUCTURE HAS NOTHING TO DO WITH STRENGTH OF THE MATERIAL.” SHIGERU BA WITH THE SAME SPACE, YOU CAN MAKE A MASTERPIECE OR CAUSE A DISASTER.” JEAN NOUVEL | ”YOU CANNOT SIMPLY PUT SOM KNOWLEDGE ALONG WITH CONTEMPORARY THINKING TO INTERPRET WHAT YOU SEE.“ TADAO ANDO | “GOD IS IN THE DETAILS. MPORTANT THING IS FINDING A WAY OF ESCAPING THE FRAMEWORK OR AESTHETIC CONSCIOUSNESS WITH WHICH I AM BU CORBUSIER | I DON’T THINK THAT ARCHITECTURE IS ONLY ABOUT SHELTER, IS ONLY ABOUT A VERY SIMPLE ENCLOSURE. IT SHOULD THE DESIGN OF SPACE THAT CONTAINS, CUDDLES, EXALTS, OR STIMULATES THE PERSONS IN THAT SPACE.”PHILIP JOHNSON | “WE MORE FAMOUS THAN ME.” JEAN NOUVEL | “EVERY ONE OF MY BUILDINGS BEGINS WITH AN ITALIAN JOURNEY.” ALVAR AALTO | “NE TO IS ONE OF THE MAJOR DRIVERS AND HAS BEEN FROM THE VERY BEGINNING.” REM KOOLHAAS | “I WORK A LITTLE BIT LIKE A SC
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Skyscraper CityLife
Arata Isozaki & Associates - Andrea Maffei Architects Milano, Italy client: CityLife S.r.l. deisgn: Arata Isozaki e Andrea Maffei prjocet signed by: Arch. Andrea Maffei program: offices project management: J&A | Ramboll structure: Arup Italia | Favero & Milan plants: Ariatta lighting: Lighting Planners Associates security: Ing. Silvestre Mistretta lift consultant: Jappsen Ingenieure competition: 2004 design: 2005-2011 status: under construction end of construction: 2015 gross floor area: 92.907 sqm SLP: 41.000 sqm height above ground: 207 m levels: 50
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text by Andrea Maffei Architects photo by Alessandra Chemollo, Giorgio Ramponi
Milano è la città che meglio rappresenta il volto internazionale dell’Italia. Al contrario di numerose città storiche italiane, progettare a Milano rappresentava confrontarsi con il volto più contemporaneo dell’Italia e non tanto di particolari eredità storiche. Ne è prova il fatto che il movimento Futurista si sta sviluppando soprattutto a Milano, essendo un movimento nato per rispondere ai temi della città contemporanea. Nel nostro arcipelago di forme, abbiamo trovato interessante sviluppare l’idea di un grattacielo senza fine, una sorta di endless tower. Ormai troviamo grattacieli di qualsiasi forma e decorazione in tutte le parti del mondo. Da ciò ci sembrava più interessante studiare un concetto da applicare al grattacielo, rispetto al solo studio di una forma bella esteticamente. Nell’aspirazione alla massima verticalità e alla tensione verso l’alto, risultava limitante scegliere una forma conclusa ad una certa altezza ed abbiamo preferito applicare il concetto di un sistema modulare che si può ripetere all’infinito. Distribuita su 50 piani dei quali 46 sono a destinazione direzionale è caratterizzata da piani estremamente flessibili nella modulazione degli spazi di lavoro e completamente illuminati da luce naturale.
Milan is the city that best represents the international face of Italy. Unlike many historical Italian cities, design in Milan is confronted with the more contemporary face of Italy, made up of factories, underground, concrete and steel and not so much of particular historical legacies. Witness is the fact that the Futurist movement has developed mainly in Milan, a movement created to respond to the themes of the contemporary city. In our archipelago forms, we found interesting to develop the idea of a skyscraper without an end, a kind of endless tower. Now we find skyscrapers of any shape and decoration in all parts of the world. From this we looked for a fascinating concept to be applied to high-rise, compared to only study a shape aesthetically beautiful. In the aspiration and tension at the maximum vertical upward, it was a limiting choice to develop a shape completed at a certain height and we preferred to apply the concept of a modular system that can be repeated indefinitely without interruption. Spread over 50 floors of which 46 are in use as office space, is characterized by extremely flexible plans in the modulation of workspaces and completely illuminated by natural light.
photo by Giorgio Ramponi
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LONGITUDINAL AND CROSS SECTION
SECTION OF THE OFFICE FLOORS
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skyscraper CityLife grattacielo CityLife
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TYPICAL FLOOR PLAN
GROUND FLOOR PLAN
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skyscraper CityLife grattacielo CityLife
Ruch Chorzow Stadium Andrea Maffei Architects Chorzow, Poland
client: Stowarzyszenie Architektów Polskich Oddział Katowice deisgn: Andrea Maffei program: football stadium associate architect: Jagiełło Krysiak Architekci structure: Studio Tecnico Majowiecki competition: september 2013 – October 2013 outcome competition: honorable mention total area: 100.527 sqm covered area: 33.254 sqm maximum height: 18,25 m seats: 12.108/16203
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text and render by Andrea Maffei Architects
L’ idea progettuale si basa sul concetto di rendere la zona dello stadio fruibile 7 giorni su 7, non limitandola al momento della partita o degli eventi sportivi. Tutto questo è reso possibile dalla creazione di una grande piazza coperta, che permette ai fan di essere accolti riparati e protetti dagli agenti atmosferici durante l’evento sportivo, ed allo stesso tempo permette ai cittadini di organizzare eventi e ritrovarsi in un luogo confortevole. Il grande tetto sostenuto da sottili colonne in acciaio, si estende sulla zona di progetto seguendo una forma organica, che copre l‘area dello stadio e parte dei parcheggi a nord e ad est. L’area di progetto è stata organizzata pensando al flusso dei tifosi e degli addetti ai lavori: dall’ ingresso Ovest, si ha accesso ad un’area riservata a giocatori, arbitri, autorità e stampa. In questa zona ci sono posti auto riservati, ed ingressi che, grazie all’utilizzo di badge elettronici, sono semplici e veloci. I giocatori hanno a disposizione un parcheggio accanto al campo di allenamento. I fan della squadra di casa hanno a loro disposizione un ampio parcheggio di circa 800 posti auto che si estende a nord-est dell’area di progetto. Questo parcheggio auto prevede, nel punto più vicino alla grande copertura, un “kiss & ride” per taxi e autobus. I fan della squadra ospite invece avranno accesso da nord-ovest dove ci sono diversi spazi di parcheggio per gli autobus.
The design idea is based on the concept of making the stadium area accessible 7 days out of 7, not limiting it to the match time or sport events. All this is made possible by the creation of a large plaza covered, which allows fans to to be welcomed repaired and protected from the weathering during the sporting event, and at the same time allows citizens to organize events and to gather in a comfortable place. The large roof which is supported by thin steel columns, lies on the project area according to an organic form, which encompasses the area of the stadium, and that laps the car parks to the north and east. The project area was organized by thinking to the traffic flow of the fans and workers. Through the West entrance, you have access to a restricted area for players, referees, authorities and press. In this area there are parking spaces reserved for them, and entrances which, due to the use of badges for entry, are speeded up and simplified. Players have access to a car park next to the training field. Fans of the home team have at their disposal a large parking area of approximately 800 parking spaces, which extends in the north-east of the project area. This car park provides, at the closest point to the large roof, a “kiss and ride” for taxis and bus parking. Fans of the visiting team, will have access from the north west, where there are several parking spaces for buses.
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male toilets female toilets
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souvenirs corners food courts control rooms administrative VIP press warehouse medical assistance distribuition corridor
UNDERGROUND AND GROUND FLOOR
11 FIRST AND SECOND FLOOR
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SOUTH EAST ELEVATION
LONGITUDINAL SECTION
CROSS SECTION
13 ruch chorzow stadium stadio ruch chorzow
Allianz’s new headquarters Andrea Maffei Architects Trieste, Italy client: Allianz Spa deisgn: Andrea Maffei program: offices project manager: Drees & Sommer plants: Deerns structure: Milan Ingegneria fireplants: GAE Engineering competition: may 2014 - july 2014 lot area: 18000 sqm gross area: 40000 sqm employees: 1700 building height: 34 m
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text by Andrea Maffei Architects render by Angelo Ferretti
Il tema progettuale verte sulla riqualificazione della storica sede Allianz sita in Trieste, in Largo Ugo Irneri 1, edificio edificato a cavallo tra gli anni ‘80 e ‘90 da parte dello studio di architettura Celli e Tognon. Il complesso di Largo Irneri è composto principalmente da 3 edifici distinti, di cui si possono individuare l’edificio principale, denominato “edificio H”, e due edifici di dimensioni minori denominati edifici A e B. Uno dei passaggi fondamentali della fase progettuale ha interessato la riorganizzazione degli spazi di lavoro, secondo standard più moderni ed efficienti, incentrati su principi di condivisione degli spazi e sul concetto di aree open-space, che permettono una migliore interazione tra i dipendenti ed una migliore operatività. Uno dei vantaggi che ha portato questa scelta è stato quello di un risparmio di superficie dedicata alle zone uffici, che di conseguenza si è potuta ridistribuire ed ottimizzare, fino a raggiungere l’obiettivo della concentrazione di tutta la superficie necessaria ad ospitare i circa 1650 impiegati nel solo edificio H, liberando gli edifici A e B da tutte le funzioni presenti al loro interno, mantenendo solo l’auditorium, che diventa un impianto capace di funzionare in autonomia.
The theme of the project focuses on the redevelopment of the historic Allianz located in Trieste, in Largo Ugo Irneri 1, a building built at the turn of the 80s and 90s by the architectural firm Celli and Tognon. The complex of Largo Irneri is mainly composed of 3 separate buildings, where we can identify the main building, called “Building H” and two smaller buildings called buildings A and B. One of the fundamental steps of the designing phase involved the reorganization of work spaces, according to the latest standards of modernity and efficiency, based on the principles of space sharing and the concept of open-space areas, which allow a better interaction between employees and a better operation. One of the advantages that has brought to this choice has been the saving of some of the surface dedicated to the offices, which has consequently been redistributed and optimized. This alowed to achieve the objective of concentrating the whole surface area necessary to accommodate about 1650 employees in the building H, thus freeing buildings A and B from their previous functions, while keeping only the auditorium, which has becomes a system capable of functioning independently.
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17 Allianz’s new headquarters nuova sede Allianz
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19 Allianz’s new headquarters nuova sede Allianz
Compasso d’Oro Exhibition Andrea Maffei Architects Milano, Italy client: Fondazione ADI deisgn: Andrea Maffei program: exhibition competition: november-december 2013
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text and render by Andrea Maffei Architects
Il concorso di idee “Esporre il Compasso d’Oro”, si pone come obbiettivo la nascita di un nuovo punto di riferimento internazionale per il design a Milano. L’area di progetto è sita in un edificio industriale in corso di ristrutturazione posto tre via Bramante e via Ceresio a Milano, in una zona vitale per la futura crescita di Milano. L’edificio si compone di tre navate, di cui quella a sud sar destinata all’Esposizione permanente della Collezione. Il premio “Compasso d’Oro” fu assegnato la prima volta nel 1954, ed è giunto alla XXII edizione. Ad oggi sono stati premiati 392 prodotti, (menzionati più di 2000). E’ facilmente intuibile l’importanza di una tale collezione per la storia del design italiano ed internazionale, e forte è la necessità di custodire ma allo stesso tempo valorizzare un tale patrimonio. La scelta progettuale si fonda sul desiderio di poter esporre il maggior numero di oggetti, realizzando così un percorso espositivo ricco ed interessante.
The competition of ideas “Expose the Compasso d’Oro”, has as its objective the creation of a new international point of reference for design in Milan. The project area is located in an industrial building which is being renovated, between via Bramante and via Lugano in Milan, in an vital area for the future growth of Milan. The building consists of three aisles, of which the south one will be allocated to the permanent Exhibition of the Collection. The prize “Compasso d’Oro” was awarded the first time in 1954, and has now come to the XXII edition. 392 products have been awarded (but mentioned more than 2000). It is easy to understand the importance of this collection for the history of Italian and international design, and there is a strong need to keep, at the same time enhancie, this heritage. The design choice is based on the desire to expose the largest possible number of objects, thus creating a rich and interesting exhibition.
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23 Comapsso d’Oro Exhibition esporre il compasso d’oro
ENEL Pavilion - Expo 2015 Andrea Maffei Architects Milano, Italy client: ENEL Spa deisgn: Andrea Maffei program: exhibition pavilion competition: july 2014 lot area: 1487 sqm lot coverage: 832 sqm buildable area: 416 sqm maximum height: 5/7 m
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text and render by Andrea Maffei Architects
Il lotto destinato ad ospitare il padiglione ENEL ha affaccio in prossimità del Decumano, il principale asse portante del sito. L’affaccio non è totalmente diretto per la presenza di due piccole strutture espositive, ma lo spazio di rispetto verde antistante e la diversità di quote offre comunque una visibilità primaria. Una struttura semipermanente, trasferibile in un altro spazio a fine manifestazione, costruita su una platea esistente, con soluzioni costruttive ad alta efficienza energetica, modulari, semplici e di rapido assemblaggio sono stati i vincoli da osservare in fase di progettazione. Il concetto nasce dall’associazione tra l’energia e la luce e successivamente tra la luce e la lampada. Si è scelta una struttura in legno lamellare: le travi principali, ripetute con un passo di 5m, sono archi sagomati che poggiano direttamente a terra permettendo così di liberare da ulteriori strutture l’intero spazio espositivo interno. La copertura in teflon permette di intravedere la struttura sottostante e trasmettere dall’interno verso l’esterno la luce creando un effetto “stupefacente” al visitatore. Un padiglione-lampada che rispecchia i modelli che il famoso artista ed architetto nippo-americano Isamu Noguchi ideò negli anni ’50; una serie di oltre 100 modelli di lampade rivestite di carta di riso su una leggera struttura di alluminio. Lo spazio esterno al padiglione invece è caratterizzato dalla presenza di steli luminosi e flessibili che affiancati numerosi formano un “campo di grano illuminato” con il fine di sottolineare il tema dell’Esposizione Universale: “Nutrire il pianeta, energia per la vita”.
The lot identified to accommodate the Enel’s pavilion is close to the decumanus, the backbone of the site. The area is not completely in contact with it, due to the presence of two small exposition structures, but the pavilion is clearly visible by the main road because of the height difference with these small buildings. During the design phase, the most important constraint to be observed was thinking of a semi-permanent structure transferable to another space at the end of the event. This led us to use constructive solutions with high efficiency, modular, easy and quick assembly. The concept is born by the association between the energy and the light and then between the light and the lamp. The pavilion is characterized by a glulam wood structure: the main beams are repeated every 5 meters and they’re shaped like arches that allow to free the entire exhibition space internal from any type of structure. The roof of pavilion is made by Teflon, so that the internal lighting can be shown from the outside through it, creating a surprising effect for the visitor. A lamp-pavilion similar to Isamu Noguchi’s lamps, realized in the 50s: a series of lamps covered by rice paper wound on a light metal structure. The outside space of the pavilion is characterized by the presence of many flexible stems lights that may appear like a “lighted corn field” with the aim of highlighting the theme of the Universal Exposition: “Feeding the Planet, Energy for Life”.
25 ENEL pavilion padiglione ENEL
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27 ENEL pavilion padiglione ENEL
Interior Renders - House 1
Giorgio Ramponi Via Luigi Federico Menabrea - Milano, Italy
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client: LipsiaSOFT s.r.l. date: april 2012
29 render
Interior Renders - House 2
Giorgio Ramponi Via Luigi Federico Menabrea - Milano, Italy
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client: LipsiaSOFT s.r.l. date: april 2012
31 render
Interior Renders - House 3 Giorgio Ramponi Via Carlo Farini - Milano, Italy
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client: LipsiaSOFT s.r.l. date: april 2012
Interior Renders - House 4 Giorgio Ramponi Via Carlo Farini - Milano, Italy
33 render
client: LipsiaSOFT s.r.l. date: april 2012
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U TSUKAMOTO | “WHILE ARTISTS WORK FROM THE REAL TO THE ABSTRACT, ARCHITECTS MUST WORK FROM THE ABSTRACT TO TH ON, SOME DISCIPLINE, SOME RULES. WHEN YOU HAVE NO RULES, THEN YOU START TO BUILD YOUR OWN RULES.” RENZO PIANO | HAT THE MATERIAL DOESN’T NEED TO BE STRONG TO BE USED TO BUILD A STRONG STRUCTURE. THE STRENGTH OF THE STRUCTUR UT CREATING A SPACE IS NOT AUTOMATICALLY DOING ARCHITECTURE. WITH THE SAME SPACE, YOU CAN MAKE A MASTERPIECE O E AROUND YOU, WHAT EXISTS ON THE LAND, AND THEN USE THAT KNOWLEDGE ALONG WITH CONTEMPORARY THINKING TO IN ATURAL LIGHT.” LOUIS KAHN | “I’VE ALWAYS FELT THAT THE MOST IMPORTANT THING IS FINDING A WAY OF ESCAPING THE FRAM CT AND MAGNIFICENT, OF FORMS ASSEMBLED IN THE LIGHT.” LE CORBUSIER | I DON’T THINK THAT ARCHITECTURE IS ONLY ABOU ADID | “ALL ARCHITECTURE IS SHELTER, ALL GREAT ARCHITECTURE IS THE DESIGN OF SPACE THAT CONTAINS, CUDDLES, EXALTS, OR URPRISE IS KEY IN ALL ART.” OSCAR NIEMEYER | “MY BUILDINGS ARE MORE FAMOUS THAN ME.” JEAN NOUVEL | “EVERY ONE OF MY B OGICAL.”KENZO TANGE | “ESCAPE FROM THE ARCHITECTURE GHETTO IS ONE OF THE MAJOR DRIVERS AND HAS BEEN FROM THE V ATERIAL. I BELIEVE ARCHITECTURE IS ABOUT.” PETER ZUMTHOR | “ANY WORK OF ARCHITECTURE THAT HAS WITH IT SOME DISCUSSIO HE INSIDE OUT.” FRANK GEHRY | “ARCHITECTURE IS INVENTION.” OSCAR NIEMEYER” | ”LESS IS MORE.” LUDWIG MIES VAN DER ROH OPOSAL FOR ARCHITECTURE IS A NEW GENERATION OF OLD TYPOLOGIES.” YOSHIHARU TSUKAMOTO | “WHILE ARTISTS WORK F EEDOM, THEN YOU ARE IN TROUBLE. IT’S MUCH BETTER WHEN YOU HAVE SOME OBLIGATION, SOME DISCIPLINE, SOME RULES. WH UT TWO BRICKS TOGETHER. THERE IT BEGINS.” LUDWIG MIES VAN DER ROHE | “I BELIEVE THAT THE MATERIAL DOESN’T NEED TO BE HE MATERIAL.” SHIGERU BAN | “SPACE, SPACE: ARCHITECTS ALWAYS TALK ABOUT SPACE! BUT CREATING A SPACE IS NOT AUTOMA ANNOT SIMPLY PUT SOMETHING NEW INTO A PLACE. YOU HAVE TO ABSORB WHAT YOU SEE AROUND YOU, WHAT EXISTS ON T GOD IS IN THE DETAILS.” LUDWIG MIES VAN DER ROHE | “A ROOM IS NOT A ROOM WITHOUT NATURAL LIGHT.” LOUIS KAHN | “I’VE WITH WHICH I AM BURDENED.” ARATA ISOZAKI | “ARCHITECTURE IS THE LEARNED GAME, CORRECT AND MAGNIFICENT, OF FORMS NCLOSURE. IT SHOULD BE ABLE TO EXCITE YOU, TO CALM YOU, TO MAKE YOU THINK. ZAHA HADID | “ALL ARCHITECTURE IS SHELTE E.”PHILIP JOHNSON | “WE HAVE TO BASE ARCHITECTURE ON THE ENVIRONMENT” TOYO ITO | “SURPRISE IS KEY IN ALL ART.” OSCA OURNEY.” ALVAR AALTO | “NEVERTHELESS, THE BASIC FORMS, SPACES, AND APPEARANCES MUST BE LOGICAL.”KENZO TANGE | “ESCA WORK A LITTLE BIT LIKE A SCULPTOR. WHEN I START, MY FIRST IDEA FOR A BUILDING IS WITH THE MATERIAL. I BELIEVE ARCHITECTURE SHOWS THAT PEOPLE ARE INTERESTED, PEOPLE ARE INVOLVED.” RICHARD MEIER | “I WORK FROM THE INSIDE OUT.” FRANK GEHRY | ETHING YOU CAN PUTIN WORDS, BUT ONLY IN ROOMS, VOLUME SAND VOIDS.”MVRDV | “OUR PROPOSAL FOR ARCHITECTURE IS HITECTS MUST WORK FROM THE ABSTRACT TO THE REAL.“ STEVEN HOLL | “IF YOU HAVE TOTAL FREEDOM, THEN YOU ARE IN TROU TART TO BUILD YOUR OWN RULES.” RENZO PIANO | “ARCHITECTURE STARTS WHEN YOU CAREFULLY PUT TWO BRICKS TOGETHER. T TRONG STRUCTURE. THE STRENGTH OF THE STRUCTURE HAS NOTHING TO DO WITH STRENGTH OF THE MATERIAL.” SHIGERU BAN WITH THE SAME SPACE, YOU CAN MAKE A MASTERPIECE OR CAUSE A DISASTER.” JEAN NOUVEL | ”YOU CANNOT SIMPLY PUT SOM NOWLEDGE ALONG WITH CONTEMPORARY THINKING TO INTERPRET WHAT YOU SEE.“ TADAO ANDO | “GOD IS IN THE DETAILS.” L MPORTANT THING IS FINDING A WAY OF ESCAPING THE FRAMEWORK OR AESTHETIC CONSCIOUSNESS WITH WHICH I AM BURD ORBUSIER | I DON’T THINK THAT ARCHITECTURE IS ONLY ABOUT SHELTER, IS ONLY ABOUT A VERY SIMPLE ENCLOSURE. IT SHOULD B HE DESIGN OF SPACE THAT CONTAINS, CUDDLES, EXALTS, OR STIMULATES THE PERSONS IN THAT SPACE.”PHILIP JOHNSON | “WE H ORE FAMOUS THAN ME.” JEAN NOUVEL | “EVERY ONE OF MY BUILDINGS BEGINS WITH AN ITALIAN JOURNEY.” ALVAR AALTO | “NEV O IS ONE OF THE MAJOR DRIVERS AND HAS BEEN FROM THE VERY BEGINNING.” REM KOOLHAAS | “I WORK A LITTLE BIT LIKE A SCUL WORK OF ARCHITECTURE THAT HAS WITH IT SOME DISCUSSION, SOME POLEMIC, I THINK IS GOOD. IT SHOWS THAT PEOPLE ARE SCAR NIEMEYER” | ”LESS IS MORE.” LUDWIG MIES VAN DER ROHE | “GOOD ARCHITECTURE IS NOT SOMETHING YOU CAN PUTIN WO OGIES.” YOSHIHARU TSUKAMOTO | “WHILE ARTISTS WORK FROM THE REAL TO THE ABSTRACT, ARCHITECTS MUST WORK FROM THE OME OBLIGATION, SOME DISCIPLINE, SOME RULES. WHEN YOU HAVE NO RULES, THEN YOU START TO BUILD YOUR OWN RULES.” OHE | “I BELIEVE THAT THE MATERIAL DOESN’T NEED TO BE STRONG TO BE USED TO BUILD A STRONG STRUCTURE. THE STRENGTH O BOUT SPACE! BUT CREATING A SPACE IS NOT AUTOMATICALLY DOING ARCHITECTURE. WITH THE SAME SPACE, YOU CAN MAKE BSORB WHAT YOU SEE AROUND YOU, WHAT EXISTS ON THE LAND, AND THEN USE THAT KNOWLEDGE ALONG WITH CONTEMPO OT A ROOM WITHOUT NATURAL LIGHT.” LOUIS KAHN | “I’VE ALWAYS FELT THAT THE MOST IMPORTANT THING IS FINDING A WA HE LEARNED GAME, CORRECT AND MAGNIFICENT, OF FORMS ASSEMBLED IN THE LIGHT.” LE CORBUSIER | I DON’T THINK THAT ARC AKE YOU THINK. ZAHA HADID | “ALL ARCHITECTURE IS SHELTER, ALL GREAT ARCHITECTURE IS THE DESIGN OF SPACE THAT CONTAIN ONMENT” TOYO ITO | “SURPRISE IS KEY IN ALL ART.” OSCAR NIEMEYER | “MY BUILDINGS ARE MORE FAMOUS THAN ME.” JEAN NOUV PPEARANCES MUST BE LOGICAL.”KENZO TANGE | “ESCAPE FROM THE ARCHITECTURE GHETTO IS ONE OF THE MAJOR DRIVERS AND UILDING IS WITH THE MATERIAL. I BELIEVE ARCHITECTURE IS ABOUT.” PETER ZUMTHOR | “ANY WORK OF ARCHITECTURE THAT HAS W EIER | “I WORK FROM THE INSIDE OUT.” FRANK GEHRY | “ARCHITECTURE IS INVENTION.” OSCAR NIEMEYER” | ”LESS IS MORE.” LUDW OIDS.”MVRDV | “OUR PROPOSAL FOR ARCHITECTURE IS A NEW GENERATION OF OLD TYPOLOGIES.” YOSHIHARU TSUKAMOTO | “W OU HAVE TOTAL FREEDOM, THEN YOU ARE IN TROUBLE. IT’S MUCH BETTER WHEN YOU HAVE SOME OBLIGATION, SOME DISCIPLINE, OU CAREFULLY PUT TWO BRICKS TOGETHER. THERE IT BEGINS.” LUDWIG MIES VAN DER ROHE | “I BELIEVE THAT THE MATERIAL DOESN TRENGTH OF THE MATERIAL.” SHIGERU BAN | “SPACE, SPACE: ARCHITECTS ALWAYS TALK ABOUT SPACE! BUT CREATING A SPACE IS OUVEL | ”YOU CANNOT SIMPLY PUT SOMETHING NEW INTO A PLACE. YOU HAVE TO ABSORB WHAT YOU SEE AROUND YOU, WH ADAO ANDO | “GOD IS IN THE DETAILS.” LUDWIG MIES VAN DER ROHE | “A ROOM IS NOT A ROOM WITHOUT NATURAL LIGHT.” LO ONSCIOUSNESS WITH WHICH I AM BURDENED.” ARATA ISOZAKI | “ARCHITECTURE IS THE LEARNED GAME, CORRECT AND MAGNIFIC VERY SIMPLE ENCLOSURE. IT SHOULD BE ABLE TO EXCITE YOU, TO CALM YOU, TO MAKE YOU THINK. ZAHA HADID | “ALL ARCHITECT HAT SPACE.”PHILIP JOHNSON | “WE HAVE TO BASE ARCHITECTURE ON THE ENVIRONMENT” TOYO ITO | “SURPRISE IS KEY IN ALL AR ALIAN JOURNEY.” ALVAR AALTO | “NEVERTHELESS, THE BASIC FORMS, SPACES, AND APPEARANCES MUST BE LOGICAL.”KENZO TANG LHAAS | “I WORK A LITTLE BIT LIKE A SCULPTOR. WHEN I START, MY FIRST IDEA FOR A BUILDING IS WITH THE MATERIAL. I BELIEVE ARC GOOD. IT SHOWS THAT PEOPLE ARE INTERESTED, PEOPLE ARE INVOLVED.” RICHARD MEIER | “I WORK FROM THE INSIDE OUT.” FRAN OT SOMETHING YOU CAN PUTIN WORDS, BUT ONLY IN ROOMS, VOLUME SAND VOIDS.”MVRDV | “OUR PROPOSAL FOR ARCHITECT RCHITECTS MUST WORK FROM THE ABSTRACT TO THE REAL.“ STEVEN HOLL | “IF YOU HAVE TOTAL FREEDOM, THEN YOU ARE IN TRO TART TO BUILD YOUR OWN RULES.” RENZO PIANO | “ARCHITECTURE STARTS WHEN YOU CAREFULLY PUT TWO BRICKS TOGETHER. T TRONG STRUCTURE. THE STRENGTH OF THE STRUCTURE HAS NOTHING TO DO WITH STRENGTH OF THE MATERIAL.” SHIGERU BAN WITH THE SAME SPACE, YOU CAN MAKE A MASTERPIECE OR CAUSE A DISASTER.” JEAN NOUVEL | ”YOU CANNOT SIMPLY PUT SOM NOWLEDGE ALONG WITH CONTEMPORARY THINKING TO INTERPRET WHAT YOU SEE.“ TADAO ANDO | “GOD IS IN THE DETAILS.” L MPORTANT THING IS FINDING A WAY OF ESCAPING THE FRAMEWORK OR AESTHETIC CONSCIOUSNESS WITH WHICH I AM BURD ORBUSIER | I DON’T THINK THAT ARCHITECTURE IS ONLY ABOUT SHELTER, IS ONLY ABOUT A VERY SIMPLE ENCLOSURE. IT SHOULD B HE DESIGN OF SPACE THAT CONTAINS, CUDDLES, EXALTS, OR STIMULATES THE PERSONS IN THAT SPACE.”PHILIP JOHNSON | “WE H ORE FAMOUS THAN ME.” JEAN NOUVEL | “EVERY ONE OF MY BUILDINGS BEGINS WITH AN ITALIAN JOURNEY.” ALVAR AALTO | “NEV www. giorgiora mponi.it O IS ONE OF THE MAJOR DRIVERS AND HAS BEEN FROM THE VERY BEGINNING.” REM KOOLHAAS | “I WORK A LITTLE BIT LIKE A SCUL WORK OF ARCHITECTURE THAT HAS WITH IT SOME DISCUSSION, SOME POLEMIC, I THINK IS GOOD. IT SHOWS THAT PEOPLE ARE