Curated by Simona Galateo, “Re-build in the built environment” presents a series of international projects, told through technical drawings, design elements and photographs by Giovanna Silva. The exhibition was also the occasion for the Triennale di Milano to realize with Capoferriun an intervention in the structure of the exhibition hall: the reopening of the three original windows designed by Giovanni Muzio in 1933, the first step towards the rereading and the return of the architectural system to its original design.
“Re-build in the built environment”
14 December, 2018 – 20 January, 2019
Palazzo della Triennale
Viale Emilio Alemagna, 6, Milano
The interventions in the exhibition testify to the wealth of design approaches aimed at enhancing the existing heritage, reusing it in more contemporary terms – with the activation of new functions or life cycles – and the need to take care of architectural details down to the smallest detail to preserve what history has left us as an inheritance:
Morgan Library | New York | Renzo Piano Building Workshop
Triennial Terrace | Milan | OBR Paolo Brescia and Tommaso Principi
Galleries of Italy, Palazzo Anguissola | Milan | aMDL Michele De Lucchi
Capitoline Temple | Brescia | Municipality of Brescia and Superintendence for Environmental and Architectural Heritage
A common feature of the 4 projects is the work of Capoferri, Italian excellence in custom-made frames, founded in Adrara San Martino (BG) in 1894. It is Capoferri’s ability to collaborate with the greatest architects of the international scene, succeeding in combining the historical needs with the aesthetic ones, those of energy efficiency with performance and safety, to act as a common thread to such different cases.
CULTURAL HERITAGE AND BUILT
2018 is the European year dedicated to Cultural Heritage: an invitation to promote good practices aimed at preserving, managing and enhancing the precious legacies we possess, reinforcing the sense of belonging to a common European area. Part of those inestimable resources to be protected is also the built and architectural heritage, historical as well as modern, with which it becomes indispensable today to compare oneself in planning. In this same direction the programs of the European Community are included – from Horizon 2020 to Europe 2020 – that promote transformations that limit, if not zero, further land consumption. Contemporary architecture has the task of re-evaluating, rethinking and adapting existing assets to accommodate new functions; re-constructing new meanings also through the action of grafting and developing the key themes of recovery, reuse, the environment and energy sustainability.
“The term re-build is used here as a synonym for the most common recycling” states Simona Galateo “Just to shift attention from the dominance of existing values, too often a real brake for architectural and urban transformations, to values of design principles able to manipulate the buildings for the establishment of new life cycles and for the improvement of energy efficiency. “Designers are increasingly called to face up to contemporary needs, including environmental ones, and to design new functions starting from the primary resources we have, from the emptiness – physical and meaning – left as a residue in the pieces of the dense city is widespread.
THE PROJECTS ON SHOW
The four architectures on show – Morgan Library, Terrazza Triennale, Palazzo Anguissola Gallerie d’Italia, Capitoline Temple of Brescia – represent emblematic examples of the importance of enhancing existing heritage and activating new meanings.
The story starts from the architectural scale – where the intervention has sometimes occurred at the level of reuse, sometimes grafting – to get to the details of the windows. Capoferri has found himself as a common interlocutor of the designer as the superintendent, interpreter of complex rules, a sensitive executor of the project and active in contributing to the definition of solutions capable of satisfying the different needs in harmony. In each of the 4 cases, the windows, the facades, the movement mechanisms, have been designed ad hoc, becoming elements of identity that characterize both the design language and the building itself. A work that highlights the craftsmanship of the company that combines traditional knowledge with frontier technologies. The objects on display are small masterpieces of design, the result of continuous experimentation and tailor-made work that is the only way to make the many existing architectures subject to the care and protection of the Superintendencies modern, safe, usable and contemporary.
The installation project, curated by Piovenefabi, stages the projects through 3 levels of intervention. The first is the one at the building level, to discover a new perspective: three large windows of the original plant, which have been blocked for decades, are reopened and returned to the architecture of the place. Giving an unprecedented view of Parco Sempione and Torre Branca, this action becomes emblematic in expressing the Triennale’s desire to bring the building of Giovanni Muzio back to its authentic design. The second intervention tells the know how of Capoferri, through the exhibition of study samples and technical tests: one of the large walls becomes a sort of contemporary lapidary, adorned with over forty elements related to as many international projects. The set of samples, made of wood and steel, makes the mechanics and design of the components that define the buildings in their architecture down to the smallest detail.
The third intervention is instead focused on the projects on show: a cruciform structure in sandblasted stainless steel outlines four areas. Large transparent panels welcome the photographs of Giovanna Silva and the designers who tell the aesthetics and the intelligence of the projects. Inside each structure there are also the project mock-ups and the showcase tables that make the story of the small components produced to measure each building unique.