The area of Milano's territory in which we have chosen to work on with an architectural project is the one placed on the south of the stretch where Corso Magenta narrows, becomes Via Meravigli, intersects the axis of S. Maria alla Porta and is delimited for a good part by Via Brisa (from which the whole neighborhood takes its name) and Via Gorani. The intersection of all these road axis of various dimensions, shapes and directions circumscribes a heterogeneous place where the "full" thickens along the sides, while the "void" spreads from the center to the ends of the plot, coming to "touch" each volume of which highlights the dispositions, heights and therefore the fronts that enclose it. The building is mostly located along the north-eastern front in the form of a compact building curtain that masks the free space in the centre of the district for anyone who reaches it from the north. The only two fractures to the curtain are Via Brisa to the north and Via Gorani to the east. In contrast to this, however, the south-western part of the plot is completely free of buildings, since those present there were severely damaged by air raids of the Second World War and later demolished. From here begins the "void", understood as free space not built, which rises north defining the trapezoidal shape of the building on the right, at the point where Via Gorani bends to reach the axis of S.Maria alla Porta; widens to the center of the area underlining the profile of Gorani tower and the stretch of wall to its left. Finally it extends westwards through the Via ansperto reaching the Civic Archaeological Museum. At the beginning of Via brisa, at the tip of the territory considered, there are the Roman remains of the palace of the Maximilian emperor and it is here that the "void" envelops every trace, every septum that rises or lowers, every curve, protrusion or cavity, giving them the character of "ruin", not understood as any construction in disuse and semi-destroyed, but rather as an element that bears within itself the memory of the place. What Francesco Venezia defines as <>, which he researches and recalls in all his projects, especially in the Museum of gibellina and in the Gardens of the Piazza di Salaparuta. In the first case Venezia articulates the project according to a series of spaces that follow the forms of pre-existence from which it derives the measures to give life to the rhythmic sequence of pillars, septa and from the path that compose the <. In a similar way the secret gardens of Salaparuta follow the traces of the ancient, where the septa building the space enclose some fragments of the original city. From the name itself we understand the desire to detach itself from the new urban fabric that surrounds them, giving shape to a space in which the remains that preserve the memory of the past are inserted in a coherent way in the project.In Francesco Venezia’s architectures, the project does not favour the new over the old, but works with pre-existence to restore the relationship with the environment. As in the places where he designed Venezia, also in the area of via Brisa we can find numerous traces of the ancient, since different stratigraphies have overlapped here to each other over time. Some of these are immediately recognizable due to clearly visible elements; others, however, are less easy to notice because they are hidden from view or because only a few fragments remain. The oldest traces that have been found belong to the Roman era, of which a large part are remains of the palatial complex wanted by Maximilian at the time of the tetrarchy (295-305 A.D.)a minority, on the other hand, dates back to the domus that had settled there before the imperial dwelling was built. In addition to the visible remains of the palatium inside the archaeological area and the mosaics preserved among the garages of the modern Gorani residences, built a few years ago,one has reason to believe that there are many other finds below the level of the contemporary city, which extend along the whole area considered and beyond, but which have not yet been the subject of an excavation campaign. This topic is one of the main themes of the design intervention that provides, through the arrangement of a module, to dictate the measures for an excavation both to make one of the most precious mosaics that today is allowed to be seen only by residents of those houses from the ramp of the garages; both to bring to light the highest possible number of Roman remains that were once part of the long and complex sequence of environments of which the imperial palace was composed. We have seen the theme of the excavation as a procedure necessary to return a mapping of the findings of the first buildings built in this place and that allow the understanding of the relationship between the portion of the palatium already discovered and the others still hidden. The aim of this operation is to ideally reconstruct the structure of the imperial headquarters in order to study its functions, orientation and different locations, so that we can then understand the relationship between contemporary Milan and Roman Milan. The discrepancy between the two cities generates in the urban fabric the problems that are found today in Via Brisa, where around the ancient a void is created that often takes the shape of the contemporary context without adapting, or settle, to the pre-existing that bears within itself the memory of the place. The imbalance that occurs when the new dominates with force over the old, without establishing any kind of relationship with the latter, generates a tension, an unresolved critical point within the urban fabric of the city. A further case of criticality is in the middle of the lot, where stands Gorani tower, which in turn represents one of the few visible fragments of the stratigraphy to which it belongs and it is also detached from the surrounding context. In fact, there are no measurements, traces or built elements that establish a relationship between the context, the tower and the stretch of wall that surrounds it. Both were part of a series of mansions that saw the period of greatest splendour at the turn of the 16th and 17th centuries, during which they articulated around their own courtyards of honor that occupied a good portion of the territory and were part of the character that distinguished the contrada Brisa. In the sixteenth century, in fact, the court was privileged as a central spatial element in the construction of the plan of the private palaces and even more in the seventeenth century, when the courtyards tended to take increasingly regular forms, that dictated the geometries and modules of the entire building. With the destruction and subsequent disappearance of the complexes inside which were inserted both the tower and the wall, both found themselves disconnected from what remained of the rest of the city. In this way every geometric rule that held together the architectural elements that made up the building has failed and as a result the few remains have lost their identity. For this reason, the project has set itself the objective of restoring to the tower and other surviving fragments a spatial element able to relate them to the context. Like the buildings that once occupied the area, the project draws its measurements from those courts that recall using the wall built as an instrument that defines the space and around which the architectural composition develops. In this way, modules and geometries are identified that contribute to articulate the scheme of the new construction adapting it to the context that it has around. The courtyards, therefore, are no longer proposed as introverted spaces, enclosed by the body of the building for which they act as an element of distribution to the various environments, but as open urban spaces, real squares, around which the vital functions of the project merge. The septa that construct the spaces take into account the importance of the new square with a greater impetus upwards, while the functions collected on the side remain lower respecting the proportional canons of the building. The intervention takes shape from both courtyards of the two disappeared palaces and for this reason it can be considered composed of two parts: the first, more to north, is directly related to the tower and the wall that flanks it; the second, to the south, is related to a rest belonging to the same stratigraphy of the tower that is on the corner of the trapezoidal building that faces via Gorani. In this sense the main objective of the project remains to relate to the context those elements that represent the oldest memory of the contrada, retracing the traces of the buildings of which they were part, then using them to give shape to a new exhibition pole that adapts to the shape of the place in which it fits.
L’area del territorio milanese in cui si è scelto di intervenire con un progetto di architettura è quella disposta a sud del tratto in cui Corso Magenta si restringe, diventa Via Meravigli, interseca l’asse di S. Maria alla Porta ed è delimitata per buona parte da Via Brisa (da cui prende il nome l’intero quartiere) e Via Gorani. L’incrocio di tutti questi assi viari dalle dimensioni, forme e direzioni più svariate circoscrive un luogo eterogeneo in cui i “pieni” si addensano lungo i lati, mentre il “vuoto” dilaga dal centro fino alle estremità del lotto, arrivando a “toccare” ciascun volume di cui mette in risalto le disposizioni, le altezze e quindi i fronti che lo racchiudono. Il costruito si trova per la maggior parte accorpato lungo il fronte nord-orientale sottoforma di una cortina edilizia compatta che maschera lo spazio libero al centro della contrada per chiunque la raggiunga da nord. Le uniche due fratture alla cortina sono costituite da Via Brisa a nord e Via Gorani ad est. In contrapposizione a questa, invece, la parte sud-occidentale del lotto è del tutto priva di corpi edilizi, poiché quelli che vi erano presenti sono stati severamente danneggiati dalle incursioni aeree della seconda guerra mondiale ed in seguito demoliti. Da qui inizia il “vuoto”, inteso come spazio libero non costruito, che sale verso nord definendo la sagoma trapezoidale dell’edificio sulla destra, nel punto in cui Via Gorani piega per raggiungere l’asse di S.Maria alla Porta; si allarga al centro dell’area rimarcando i profili della torre dei Gorani e del tratto di muro alla sua sinistra. Infine si estende verso ovest tramite la Via Ansperto raggiungendo il Civico Museo Archeologico. All’inizio di Via Brisa, nella punta del territorio considerato, si hanno i resti romani del palazzo dell’imperatore Massimiano ed è qui che il “vuoto” avvolge ogni traccia, ogni setto che si alza o si abbassa, ogni curva, sporgenza o cavità, conferendo loro il carattere di “rovina”, non intesa come una qualunque costruzione in disuso e semi-distrutta, ma piuttosto come un elemento che reca in sé la memoria del luogo. Quella che Francesco Venezia definisce <>, che ricerca e rievoca in tutti i suoi progetti, in particolar modo nel Museo di Gibellina e nei Giardini della Piazza di Salaparuta. Nel primo caso Venezia articola il progetto secondo una serie di spazi che seguono le forme della preesistenza dalla quale trae le misure per dar vita alla sequenza ritmica di pilastri, setti e dal percorso che compongono la <>. In modo simile i giardini segreti di Salaparuta seguono le tracce dell’antico, dove i setti che costruiscono lo spazio racchiudono alcuni frammenti della città originaria. Dal nome stesso si comprende la volontà di distaccarsi dal nuovo tessuto urbano che li circonda, dando forma ad uno spazio in cui i resti che conservano la memoria del passato si trovano inseriti in modo coerente nel progetto. Nelle architetture di Francesco Venezia il progetto non favorisce il prevalere del nuovo sull’antico, ma collabora con la preesistenza per ricucire il rapporto con l’ambiente. Così come nei luoghi dove ha progettato Venezia, anche nell’area di via Brisa si possono trovare numerose tracce dell’antico, poiché diverse stratigrafie si sono sovrapposte qui le une alle altre nel corso del tempo. Alcune di queste sono immediatamente riconoscibili per via di elementi ben visibili; altre, invece, sono meno facili da notare perché celate alla vista o perché di queste rimangono solo pochi frammenti. Le tracce più antiche che sono state rinvenute appartengono all’epoca romana, delle quali buona parte sono resti del complesso palaziale voluto da Massimiano al tempo della tetrarchia (295- 305 d.C.); una minoranza invece risale alle domus che vi erano stanziate prima che si costruisse la dimora imperiale. Oltre ai resti visibili del palatium che si trovano all’interno dell’area archeologica e ai mosaici conservati tra i garage delle moderne residenze Gorani, costruite pochi anni fa, si ha ragione di credere che ci siano molti altri reperti al di sotto del piano della città contemporanea, che si estendono lungo tutta l’area considerata e oltre, ma che non sono ancora stati oggetto di una campagna di scavo. Questo argomento è uno dei temi principali dell’intervento progettuale che prevede, attraverso la disposizione di un modulo, di dettare le misure per uno scavo volto sia a rendere visitabile uno dei mosaici più preziosi che ad oggi è consentito solo ai residenti di quelle abitazioni dalla rampa dei garage; sia per riportare alla luce il maggior numero possibile dei resti romani che un tempo facevano parte della lunga e complessa sequenza di ambienti dei quali si componeva il palazzo imperiale. Si è visto il tema dello scavo come un procedimento necessario per restituire una mappatura dei reperti delle prime costruzioni sorte in questo luogo e permettere quindi la comprensione del rapporto tra la porzione del palatium già scoperta e le altre ancora nascoste. Questa operazione ha come obiettivo quello di ricostruire idealmente l’assetto della sede imperiale in modo da studiarne le funzioni, l’orientamento e le diverse giaciture, affinché si possa poi capire la relazione tra la Milano contemporanea e la Milano romana. La discordanza tra le due città genera nel tessuto urbano i problemi che si riscontrano oggi in Via Brisa, dove attorno all’antico si genera un vuoto che spesso assume la sagoma del contesto contemporaneo senza adattarsi, o regolarsi, al preesistente che reca in sé la memoria del luogo. Lo squilibrio che si verifica quando il nuovo prevale con forza sull’antico, senza instaurare alcun tipo di rapporto con quest’ultimo, genera una tensione, un punto critico non risolto all’interno del tessuto urbano della città. Un ulteriore caso di criticità si ha al centro del lotto, dove svetta la torre dei Gorani, che a sua volta rappresenta uno dei pochi frammenti visibili della stratigrafia alla quale appartiene e anch’essa è slegata dal contesto che la circonda. Non si trovano infatti misure, tracce o elementi costruiti che instaurino una relazione tra il contesto, la torre e il tratto di muro che la affianca. Entrambi facevano parte di una serie di palazzi signorili che hanno visto il periodo di maggior splendore a cavallo tra il Cinquecento e il Seicento, durante il quale si articolavano attorno ai propri cortili d’onore che occupavano una buona porzione del territorio ed erano parte del carattere che contraddistingueva la contrada Brisa. Nel Cinquecento infatti si privilegiava la corte come elemento spaziale centrale nella costruzione della planimetria dei palazzi privati e ancor più nel Seicento, quando i cortili tendevano ad assumere forme sempre più regolari, che dettavano le geometrie e i moduli dell’intero edificio. Con la distruzione e successiva scomparsa dei complessi all’interno dei quali erano inseriti sia la torre che il muro, entrambi si sono ritrovati slegati da ciò che rimaneva del resto della città. In questo modo ogni regola geometrica che teneva insieme gli elementi architettonici che costituivano il palazzo è venuta a mancare e di conseguenza i pochi resti rimasti hanno perso la propria identità. Per questo motivo il progetto si è posto l’obiettivo di restituire alla torre e agli altri frammenti superstiti un elemento spaziale in grado di porli in relazione con il contesto. Al pari dei palazzi che un tempo occupavano l’area, il progetto trae le misure da quelle corti che rievoca servendosi del muro costruito come strumento che ne delimita lo spazio e attorno al quale si sviluppa la composizione architettonica. Si individuano così dei moduli e delle geometrie che contribuiscono ad articolare lo schema della nuova costruzione adattandolo al contesto che ha intorno. Le corti quindi non vengono più riproposte come spazi introversi, racchiusi dal corpo dell’edificio per il quale fungono da elemento di distribuzione ai vari ambienti, ma come spazi urbani aperti, delle vere e proprie piazze, attorno alle quali si accorpano le funzioni vitali del progetto. I setti che costruiscono gli spazi tengono conto dell’importanza della nuova piazza con uno slancio maggiore verso l’alto, mentre le funzioni raccolte a lato rimangono più basse rispettando i canoni proporzionali della costruzione. L’intervento prende forma da entrambe le corti dei due palazzi scomparsi e per questo si può considerare composto da due parti: la prima, più a nord, si relaziona direttamente con la torre e il muro che la affianca; la seconda, a sud, si rapporta con un resto appartenente alla stessa stratigrafia della torre che si trova d’angolo all’edificio trapezoidale che affaccia su via Gorani. In questo senso l’obiettivo principale del progetto rimane quello di porre in relazione con il contesto quegli elementi che rappresentano la memoria più antica della contrada, ripercorrendo le tracce delle costruzioni delle quali facevano parte, utilizzandole poi per dar forma ad un nuovo polo espositivo che si adatta alla conformazione del luogo nel quale si inserisce.
Area archeologica e progetto di architettura. Milano : l'area di palazzo imperiale
DE VECCHI, LORENZO;DADDA, SILVIA;ZAMMITTI, VITTORIA
2019/2020
Abstract
The area of Milano's territory in which we have chosen to work on with an architectural project is the one placed on the south of the stretch where Corso Magenta narrows, becomes Via Meravigli, intersects the axis of S. Maria alla Porta and is delimited for a good part by Via Brisa (from which the whole neighborhood takes its name) and Via Gorani. The intersection of all these road axis of various dimensions, shapes and directions circumscribes a heterogeneous place where the "full" thickens along the sides, while the "void" spreads from the center to the ends of the plot, coming to "touch" each volume of which highlights the dispositions, heights and therefore the fronts that enclose it. The building is mostly located along the north-eastern front in the form of a compact building curtain that masks the free space in the centre of the district for anyone who reaches it from the north. The only two fractures to the curtain are Via Brisa to the north and Via Gorani to the east. In contrast to this, however, the south-western part of the plot is completely free of buildings, since those present there were severely damaged by air raids of the Second World War and later demolished. From here begins the "void", understood as free space not built, which rises north defining the trapezoidal shape of the building on the right, at the point where Via Gorani bends to reach the axis of S.Maria alla Porta; widens to the center of the area underlining the profile of Gorani tower and the stretch of wall to its left. Finally it extends westwards through the Via ansperto reaching the Civic Archaeological Museum. At the beginning of Via brisa, at the tip of the territory considered, there are the Roman remains of the palace of the Maximilian emperor and it is here that the "void" envelops every trace, every septum that rises or lowers, every curve, protrusion or cavity, giving them the character of "ruin", not understood as any construction in disuse and semi-destroyed, but rather as an element that bears within itself the memory of the place. What Francesco Venezia defines as <>, which he researches and recalls in all his projects, especially in the Museum of gibellina and in the Gardens of the Piazza di Salaparuta. In the first case Venezia articulates the project according to a series of spaces that follow the forms of pre-existence from which it derives the measures to give life to the rhythmic sequence of pillars, septa and from the path that compose the <. In a similar way the secret gardens of Salaparuta follow the traces of the ancient, where the septa building the space enclose some fragments of the original city. From the name itself we understand the desire to detach itself from the new urban fabric that surrounds them, giving shape to a space in which the remains that preserve the memory of the past are inserted in a coherent way in the project.In Francesco Venezia’s architectures, the project does not favour the new over the old, but works with pre-existence to restore the relationship with the environment. As in the places where he designed Venezia, also in the area of via Brisa we can find numerous traces of the ancient, since different stratigraphies have overlapped here to each other over time. Some of these are immediately recognizable due to clearly visible elements; others, however, are less easy to notice because they are hidden from view or because only a few fragments remain. The oldest traces that have been found belong to the Roman era, of which a large part are remains of the palatial complex wanted by Maximilian at the time of the tetrarchy (295-305 A.D.)a minority, on the other hand, dates back to the domus that had settled there before the imperial dwelling was built. In addition to the visible remains of the palatium inside the archaeological area and the mosaics preserved among the garages of the modern Gorani residences, built a few years ago,one has reason to believe that there are many other finds below the level of the contemporary city, which extend along the whole area considered and beyond, but which have not yet been the subject of an excavation campaign. This topic is one of the main themes of the design intervention that provides, through the arrangement of a module, to dictate the measures for an excavation both to make one of the most precious mosaics that today is allowed to be seen only by residents of those houses from the ramp of the garages; both to bring to light the highest possible number of Roman remains that were once part of the long and complex sequence of environments of which the imperial palace was composed. We have seen the theme of the excavation as a procedure necessary to return a mapping of the findings of the first buildings built in this place and that allow the understanding of the relationship between the portion of the palatium already discovered and the others still hidden. The aim of this operation is to ideally reconstruct the structure of the imperial headquarters in order to study its functions, orientation and different locations, so that we can then understand the relationship between contemporary Milan and Roman Milan. The discrepancy between the two cities generates in the urban fabric the problems that are found today in Via Brisa, where around the ancient a void is created that often takes the shape of the contemporary context without adapting, or settle, to the pre-existing that bears within itself the memory of the place. The imbalance that occurs when the new dominates with force over the old, without establishing any kind of relationship with the latter, generates a tension, an unresolved critical point within the urban fabric of the city. A further case of criticality is in the middle of the lot, where stands Gorani tower, which in turn represents one of the few visible fragments of the stratigraphy to which it belongs and it is also detached from the surrounding context. In fact, there are no measurements, traces or built elements that establish a relationship between the context, the tower and the stretch of wall that surrounds it. Both were part of a series of mansions that saw the period of greatest splendour at the turn of the 16th and 17th centuries, during which they articulated around their own courtyards of honor that occupied a good portion of the territory and were part of the character that distinguished the contrada Brisa. In the sixteenth century, in fact, the court was privileged as a central spatial element in the construction of the plan of the private palaces and even more in the seventeenth century, when the courtyards tended to take increasingly regular forms, that dictated the geometries and modules of the entire building. With the destruction and subsequent disappearance of the complexes inside which were inserted both the tower and the wall, both found themselves disconnected from what remained of the rest of the city. In this way every geometric rule that held together the architectural elements that made up the building has failed and as a result the few remains have lost their identity. For this reason, the project has set itself the objective of restoring to the tower and other surviving fragments a spatial element able to relate them to the context. Like the buildings that once occupied the area, the project draws its measurements from those courts that recall using the wall built as an instrument that defines the space and around which the architectural composition develops. In this way, modules and geometries are identified that contribute to articulate the scheme of the new construction adapting it to the context that it has around. The courtyards, therefore, are no longer proposed as introverted spaces, enclosed by the body of the building for which they act as an element of distribution to the various environments, but as open urban spaces, real squares, around which the vital functions of the project merge. The septa that construct the spaces take into account the importance of the new square with a greater impetus upwards, while the functions collected on the side remain lower respecting the proportional canons of the building. The intervention takes shape from both courtyards of the two disappeared palaces and for this reason it can be considered composed of two parts: the first, more to north, is directly related to the tower and the wall that flanks it; the second, to the south, is related to a rest belonging to the same stratigraphy of the tower that is on the corner of the trapezoidal building that faces via Gorani. In this sense the main objective of the project remains to relate to the context those elements that represent the oldest memory of the contrada, retracing the traces of the buildings of which they were part, then using them to give shape to a new exhibition pole that adapts to the shape of the place in which it fits.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/153870