Acciaio Arte Architettura | English Version

A small compendium for innovative quality building work

1. Conserve, not restore; this has already been repeated, before us, by many great European Fathers of the culture of conservation. Read their writings, and follow their clear example.
2. Respect, not contaminate or violate, the autographed witness of material culture that we have inherited from the past in a unique copy, with all the subsequent contribution which have been placed on the material palimpsest.
3. Do not subtract essential matter from the great building that Architect is working on, rather consider it as a handwritten document of the Archaeology of knowing and look after it, with a precise project of knowledge and permanence, with integral transmission to the atteintion and the knowing use, without that consumer culture typical of the new generations.
4. Consider the growing, singular complexity of the “constructed” resource as a work always open to further intake if quality that can dialogue with the existing part in a direct and transparent manner; i.e. guarantee that the conservation is as integral as possible potential new resources with an autonomous, legible and potentially reversible nature; i.e. again: consider the additional parts as a testimonial work of quality with specific features “of our time”.
5. Do not deny the dialectic confrontation between Ancient and Modern, i.e. the dialogue the existing historic matter for the needs (functional, plant engineering, furnishing) to resolve a direct dialogue between old materials and site techniques and new materials and modern innovative techniques.

This is why, for new architectural elements that must be inserted in a strongly characterized historic context, I have always personally preferred iron-glass rather than rough concrete. In particular, for the structures, the protagonists in my work are sections and bent sheet in carbon or stainless steel, corten membranes, planes and panels of stratified glass.
Here, in Prato, on the site of the Caffé delle Logge, for both the window and doorframes I confess that I really appreciated the rigour and flexibility of the new minimalist steel profiles produced by Palladio, so elegant, fine and essential.

By Marco Dezzi Bardeschi
Project: Intervento di ristrutturazione e restauro dell’Antico Caffè delle Logge
Location: Prato, Toscana
Client: Comune di Prato
Use: Caffè-ristorante
Planner: Prof. Ing. Arch. Marco Dezzi Bardeschi
Works of art: pavimenti in mosaico – Diego Esposito
Painted decorations in the Small dining hall: S. Casagrande e R. Recalcati; Palme del Salone: M. Partini
Painted decoration in the Hall: V. Locatelli
Structures and 494/96: Ing. M. Marrani
Executive coordinator and site management assistant: D. Dezzi Bardeschi
Designer for the Bar Counter, lights and tables: Archh. T.Turi e M. Bettarini
Building firm: Edil Como
Construction of the window frames and iron work: M. Pascarella
Bench constructed by: M. Ferretti
Steel window and doorframes: Palladio SpA
Phots: P. Belvedere

Originally, in relation to the construction of the Science Center New Metropolis, called NEMO, designed by the Architect Renzo Piano, with its characteristic prow shape entirely cladded in pre-oxided copper, on the site of the ARCAM centre a small information building was constructed, again designed by Architect Piano. However this center was so small, there was not sufficient space to transfer the new Architectural Center there. The answer from Amsterdam municipality, in agreement with architect, René van Zuuk.
The volume of the building is minimal inland – for safety reasons as well – while the opening and transparency are very clear on the waterfront. On entry, there is an immediate perception of linked areas caused by the empty spaces and double height rooms. The main exhibition area is on a level with the entrance, while on the floor below there is a multi-function hall. The offices are on the top floor, divided by internal glass walls. Each view has its own independent nature, easily recognisable: the corrugated zinc metal surfaces act as both roof and façade along the wharf side, suppressing the normal distinction between the two parts.
The glass and steel façade that overlooks the water is slightly inclined; it is formed of narrow T-section steel profiles (12 cm depth, with visual impact of just 6 cm) which are purposely hidden, to respect the feeling of diffused transparency that was sought for this front view. In certain parts of the façade, the glass panel (pack with stratified safety glass double glazing) has been made one with the bearing structure(formed of 168.3 mm diameter steel columns) by using a plate welded to the columns and L-angle profiles at the edge. This has created the desired effect of a not totally flat façade, to create a delicate play of light and shade.
Transparency can also be interpreted as an equal exchange of information: the internal layout of the spaces, the exhibitions, the temporary installations are clearly visible from the outside and likewise from the inside, the urban transformations are clearly on view as well as the building sites involved in Erik Van Egeraat’s Masterplan, which involves numerous architectural studios for this new part of the city.

by Marina Cescon (”Acciaio Arte Architettura” nr.19)

Project: ARCAM – ARchitectural Center AMsterdam
Design: René Van Zuuk Architekten bv, Almere
Location: Amsterdam, Prins Hendrikkade 600 – Oosterdok
Client: Ontwikkelingsbedrijf Gemeente Amsterdam
Structural Engineer: Advies en Ingenieursbureau Van Der Laar, Eindhoven
Building contractor: H.J. Jurriens b.v., Utrecht
Steel structure: Moeskops Constructiebedrijf b.v., Bergeijk
Roof: Hafkon b.v. Maassluis/kalzip, Koln
Builder of the steel structure: Blitta b.v., Venray
Profili in acciaio: Sistema facciate Stabalux, Palladio SpA
Dispositivi elettrici: Staal Dekker en Ronday, Amsterdam
Progettazione spazi interni: Starec Design b.v., Nieuwegein
Documentazione fotografica: Luuk Kramer

The reclaiming of the “Tre Sassi” fortress in Valparola (Cortina D’Ampezzo) as a museum, is the visible evidence of the greatest disaster which can affect humanity, thanks to the skilful work of the architects Hirschstein and Da Rin, it has recovered a new dimension linked to the need of remembering sad events. On the one hand the restoration design wanted to give back the image of the blockhouse as a real evidence of the war experience, and on the other hand it wanted to guarantee the running of museum activities inside the building by the complete restoration of the corridors and spaces of the old fortress. The fundamental element used to carry out these design needs was steel. Thanks to its great flexibility of use, it is particularly suitable to carry out structural solutions which allow the complete use of the spaces dedicated to the exhibition. Its use was highly valuable in creating the possibility to differentiate, also visibly, between the new functional planned structures and the original existing fortified building. The surprising flexibility of steel makes it the real creator in the carrying out significant structural elements concerning the technological aspect and also safety and attractiveness. This is why a particular importance is given to the ceilings on the first level and to the fastenings which close in the external openings of the old building. The ceilings have a supporting frame of steel profiles with intrados from corrugated sheet iron which stand out about 10 cm from the wall intentionally projecting itself over what the fortress once was. Considering the functional aspect, they allow all the displaying rooms to be horizontally connected as well as the housing of technological plaints which would have spoilt the old vertical structures.
The steel profiles of the external closings with strengthened glass, guarantee safety of the displayed objects and control the micro-climate of the internal spaces, an important aspect for a building located at a significant altitude. Also outside of the fortress the use of steel was quite important to carry out a footbridge and safety stairs to assure proper access to the exits even in the event of an emergency.
A subtle and enchanting game is created between the imposing structure of the old fortress and the elegant lightness of the metal elements which contribute to its rebirth.

By Manuele Elia Marano (”Acciaio Arte Architettura n.19″)

Project: Museo della Grande Guerra nelle Dolomiti
Designers: Arch. Agostino Hirschstein, Arch. Francesco Da Rin
Work management for the first lot of the roofing: Arch. Mario Baldin, Soprintendenza B.B.A.A. Veneto Or.
Structural project: Arch. Agostino Hirschstein
Client: Comune di Cortina D’Ampezzo – Regole D’Ampezzo
Financer: Cariverona e privati
Time of construction: 1999-2000
Steel profiles: Palladio Spa
Photographs: Arch. Francesco Da Rin, Arch. Emilia Perego, Arch. Agostino Hirschstein Arch. Marino Baldin

The two-level building is not in the middle of the plot, but near its perimeter, in a secondary position compared with the large yard which keeps the most important role. The studied simplicity of the project is complemented by a rigorous attention to design and construction details. The choice of an exclusive group of materials, such as steel for the internal stairs and fastenings, corten steel for the elements of the west façade overlooking the garden, reinforced concrete and white plastering for the partitions, and concrete provide a perfect cover from the sun, adjusting according to the position of the sun and the season. The external beam (HEB 200) of the west façade overlooking the yard, houses, and hides thanks to its flanges the superior and inferior slots of the rail of the mobile panels from corten steel. The corten steel is a “living”, almost organic material, a “metallic bark” which changes hues and texture copying the continuous variations of the trees and plants which frame the building.
Corten steel was wrought to create a sort of “sculpturized grille” which allows the light to filter inside the rooms softly and gradually. The internal spaces are organized to be extremely flexible. A two-storeyed entrance hall visually connects both living levels, simultaneously offering room for the private presentation of art pieces. The double-height hall connects the two levels, on the ground floor the open space is equipped with sliding satinized glass partitions, only the guest’s apartment and the housekeeping area are separated. On the first floor, the bedrooms are connected by a long corridor lit by the glass elements of the flat cover. The flexible design of the internal spaces can be compared with the flexible configuration of the main façade, which confirms the research of unit and interaction with surrounding nature of the park.

By Marina Cescon (”Acciaio Arte Architettura” n. 18)

Project: Alvano House
Architects: Meinhard Von Gerkan and Nikolaus Goetze, 1996
Manager: Thomas Haupt
Project team: Gabi Nunneman, Nicole Loeffler
Location: Amburgo
Time of construction: 1999-2000
Client: Dr. Wolfgang Alvano and Tuki Grafin Wrangler
Builder of the steel façade and glazing: Edel+Stahl, Rellinger; Klingerberg Metalbau, Amburgo
Photographs: Klaus Frahm

The story of the “house” begins on a sunny afternoon during the Thirties when the famous lawyer and banker, Arturo Osio (founder of the Banca Nazionale del Lavoro) was walking along the Sangallo Ramparts, and fell in love with the magic of the area where the Roman sun plays joyfully with the archaeological remains, historic reminders of Rome’s great past. The plans for Villa Osio were commissioned from Ing. Pascoletti who, in 1940, built the elegant main building on the base of 17th century farmhouse, in rational-classic style, with lots of porches and rounded arches to recall the typical of Roman spas.
The impressive restoration work has returned the complex to its original sombre style, removing all the additions of the last thirty years. The change in its use meant the materials used had to be very carefully chosen, especially for the acoustic and aesthetic requirements. This clearly seen in the main villa (building A), which spreads over two storeys, with an effective floor surface of 1200 sq.m., it as an L shape and the short side, which has been completely redesigned internally, houses an auditorium with seating for 148, which is joined by a lift to the first floor which houses the artists’ changing rooms, with bathrooms and direction room. The long side is dedicated to all the activities for the conservation and documentation of the musical material with reserved area for the public, like the reception, bookshop and bar-cafeteria. The most important work, which, besides the practical aspect also satisfied the desire to restore the original balance of the building, was the elimination of the dividing walls and floor to make space for the auditorium, and closing the main large window which had been made during the previous restructuring work, closing the loggia in the south facing forepart of the villa with large windows, which also protects the precious mosaic floors, made in the original building. On the external stairway and top arcade, the heavy banister made in the 80s have been demolished and replaced by squares and handrail in hot galvanised and painted steel, more elegant and in line with the original project. Overall, the materials used for the restoration have been selected to conform with the historic style of the building, without neglecting the new public use: utmost attention has been paid to safety levels (resistance to wear, fire, etc.) and acoustic performance, with sound absorbing, sound-reflecting and sound-dampening properties depending on the different uses for the rooms. Very special attention was also paid to the external window and doorframes, which have been made from 20/10 hot-galvanised and painted steel profiles, with double glazing of various thicknesses, depending on the rooms, to create very attractive and hard wearing frames. Villa Osio is emblematic for the use of steel in the restoration of modern buildings: in fact, over recent years, thanks to the great progress that has been made in the field, steel is now preferred to wood for its strength and long life, and the capacity to hold very large window in a minimum of frame; in this case, the profiles with the seal groove also guarantee the added value of perfect acoustic insulation, which is of primary importance in this type of building. The second building (building B), measures approx. 300 sq.m., and is perfectly in line with the rational-classic style of the main villa, and has been restored to its Roman domus style: with all the decorations and superfetations removed, we are left with a very elegant building with a central patio which houses a bar and restaurant. The reorganisation of the building means the terrace on the first floor can now be used, previously it was just a roof, and now with an external stairway leading up to it, it gives a lovely view of the large park and precious trees. A large sloping skylight measuring 30 sq.m., made using special very thick steel profiles, covers the central patio meaning that all the ground floor space can be used. In line with the needs for style and safety of the main buildings, the external window frames along the east and west faces of building B are made with 2 mm thick steel profiles, hot galvanised and oven painted in sanded burnish brown, fitted into very large arched openings. An intelligent synergy of ideas has meant this corner of Rome has been perfectly restored to serve art becoming a sort of citadel, where cultured, visceral, virtuoso and sensual sound will be cultivated and appreciated: a house for music to be listened to, to play, to record, and to invent. A jazz house.

By Daniela Pellizzari (Acciaio Arte Architettura n.24)

Project: Casa del Jazz
Location: Roma
Design: Zètema Progetto Cultura srl Arch. Giodo Ingrao, con Arch. D. Cavarra, Arch. R. Conti, Arch. M.A. Russo
Window and doorframes: Officina Bonomi, Campagnano, Roma
Tubolar profiles: Palladio Spa, Treviso
Curtain wall: Stabalux, Palladio Spa
Photos: Paolo Belvedere