THE GENESIS OF URBAN PROJECT – spatial definition of the square
The project moves from the issue of how to conceive an urban intervention on a square already framed by monumental buildings. An answer was found in the necessity of considering the square’s walkways the only malleable front which is plastically modeled according to the elements that surround it. Each element is reinterpreted in a contemporary way, depending on the role that the city of today gives it.
The identification of the basic geometry (canvas) was born from the desire to expand the space – square, forced in the size of the demolished block. The rectangular canvas rests on the ……………. dictated by Palazzo Marino that traces the ancient fortified walls. A dialogue with the canvas has been preserved by the historical memory of the place, recognized in the square geometric shape system that distinguishes the beltramian project.
The 18th century intervention has created a urban void, depriving the other buildings of the comparison with the volume built. Today the square is made static by centripetal nature, due not to the sculpture group, but to the tree – lined walls that hide it.
In the project we choose to overturn this system, opening up the central space of the square and the views of the monument and engraving on the canvas in two main ……….. :
- The right front of the tunnel leading into the square in connection with Piazza Duomo;
- The diagonal tying off the edge of the Ghiringhelli Galleries of Italy.
The meeting between the geometries described generates the convex lines that characterize the proposal, giving Piazza della Scala a new space, able to materialize the main objectives of the project.
THE SYSTEM OF PUBLIC SPACES – Enhancement of the urban – historical environment
The cultural system
The project aims to materialize the connection in the square, which is now barely recognizable with Piazza Duomo, traced with the construction of the Vittorio Emanuele II Gallery. This ……. Places an important role becoming a true “path of culture” that binds the Duomo itself with Piazza della Scala and therefore the 20th century Museum with the Gallerie d’Italia.
The green system
We have chosen to free the center of the square and the monument of the green frame, opening all the enjoyable visuals on the square; the specimen of the maple have been relocated elsewhere. A firs role is set on Via Manzoni, to mark the rests of the old front built; this will make it possible to return to frame the La Scala theatre with the visual angle and free views that could be seen by the citizens at the time of its construction. The other copies will be located in the adjacent Largo Ferrari and Largo Mattioli that will form two green spots in the city, taken away from the vehicles and given back to pedestrians.
The mobility system
In order to make the area a “privileged walkable zone” and keep the transit of vehicles on some routes, we chose to make all motor vehicles seem “unwanted guests” dealing the ……… with materials reserved for pedestrians. A different way thought for sustainable mobility: the route path and the historical path of the tram. In the first case a compact strip was traced, leading from the new Via Verdi track to Bike – Mi station, while in the second case the existing path is marked by stone elements of Cuasso.
RAINTERPREATION OF CONTEXT OF THE MATERIALS OF THE HISTORICAL BUILDINGS
In the central area, the materials that today characterize the square are interpreted differently. The leading role belongs to the Montorfano Granite, used in two different shades, a dark one and a liter one, already present to Piazza San Fedele. This material draws a designed with bands of varying width (with smaller size in the pale bands), resting on various ……. Suggested by the contest.
The canvas is treated with materials that are typical of the center of Milan, but today are strangers to the site of intervention: we have drawn a square greed of blocks of white Gneiss, marked by bands of stone to its full extent and dissolved in the vicinity of the sittings.
On the contrary we chose to reduce the impact of Cuasso Granite that the project identifies the areas passable by cars, bikes and trams.
Team leader: Lorenzo Cantalini
Design Team: Dunamis Architettura (Stefano Balassone, Lorenzo Cantalini, Giovanna Marchei, Roberta Pezzuti)
With the collaboration of: Chiara Colapietro, Olimpia Castellano
images: Mauro Mauriello