Acciaio Arte Architettura | English Version

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

This project by the Spanish architectural studio, Erik Morvan is on the borders of the Saint Cucufa forest at four kilometres from the Paris district of Defense, in a private residential area on the confines of the Malmaison Castle, where Napoleon’s wife Empress Josephine lived.
It is an old wine factory that has been renovated and converted into a loft with an atelier and home for a couple of creative art lovers.
The project fully respects the original structure and nature of the old industrial building, conserving the style of the antique wine cellars without any alterations to the volumes of the three parts of the building, which are now divided into one for the studio, one central part which has not yet been decided how it will be used and the front part with two lofts for living in.
After carefully removing and disposing of the asbestos that had been used on the former industrial building, the main steel structure has been conserved and the sheds have been restored with their original lines but with new openings towards the surrounding countryside.
Large sliding steel windows have been created for the windows overlooking the adjacent forest, which give character to the entire project with the style of ancient factories (the old “iron windows”) but with modern practical performance.
The flooring also recalls the old workshops, covered with steel plates with slip-proof “orange peel” patterns.
Finally, the designer’s choice of how to solve the problem of the space for the bathrooms and loft rooms is rather unusual: so as not to change interior layout (typical open spaces as used in lofts), steel plate cylinders have been made covered with recycled metal fins which enclose the more private spaces.

By Marzia Urettini

Project: Renovation of a former industrial building
Designer: Arch. Erik Morvan Concepcion, Arquitectura y Diseno
Location: Paris
Client: Private
Steel window profiles: Palladio Spa, Treviso
Window and doors frames: Axer Group, Treviso e Duche Batiment, Parigi
Steel work: Axer Group, Treviso, Italy – Duche Batiment, Romainville Cedex, France
Photos: Arquitectura y Diseno, St Andreu de LLavaneres, Barcellona, (Spain)

The Peggy Guggenheim Collection is one of the most prestigious museums in Italy for European and American art from the first half of the 20th century. The museum is in Venice in Palazzo Venier dei Leoni, which used to be the private home of Peggy Guggenheim, former wife of Max Ernst and granddaughter of the American magnate Solomon Guggenheim.
In Venice the museum is better known as the “incomplete Palazzo”. Its construction began in 1748 to a project by the architect Lorenzo Boschetti (who also designed the Church of S. Barnaba), and it should have been a magnificent five storey palazzo, with a majestic classic facade with columns and lions, directly overlooking the Grand Canal and facing Palazzo Corner. However, construction had just begun when the work was halted – perhaps due to opposition from the powerful Corner family – and of this majestic project only the basement and first floor were completed, and the classic facade has remained unfinished ever since.
Its incomplete nature has always distinguished Palazzo Venier from the other buildings along the Grand Canal, and in 1949 Peggy Guggenheim found it so fascinating, that she decided to convert it into her famous home and museum, and it has remained untouched since her death in 1980.
In 2000 an enormous restoration project began to construct a new entrance, extend the exhibition space, transfer the administration offices, reorganise the internal and external itineraries, and reorganise the multi-level gardens. The last phase of the project was completed in 2009, with the restoration of the two main facades, the one over the Grand Canal and the other over Rio delle Torreselle. The most extensive part of the work (about 460 sq.m.) involved the difficult decision to remove the ivy, which, for more than 20 years, had totally covered the entire facade of the Museum overlooking the Grand Canal, but which was necessary to limit the damage to the columns and to highlight the “unfinished” appearance, which is one of the most distinctive features of the palazzo. The glazed openings have been restored with new steel frames, the only maintenance free material able to resist the attack from the Lagoon atmosphere. The new entrance door and all the windows have black painted steel frames, and some have new artistic wrought iron bars applied which recall the decoration of the original ivy.

By Marzia Urettini (”Acciaio Arte Architettura” n.42)

Project: Renovating the Peggy Guggenheim Collection Museum in Venice
Client: Fondazione Solomon R. Guggenheim, Venezia
Architect and work management: Studio Architetti di Thiene, Archh. Clemente e Giacomo di Thiene, Venezia
Time of restoration: 2009
Contractors: Restoration of the main facade overlooking the Grand Canal. Demolition and restoration of the plaster on the facade overlooking Rio delle Torreselle: Impresa edile Minto Fracesco & C, Venezia
Iron elements: Fabbri Veronese, Vicenza
Steel windows profiles: Palladio Spa, Treviso