Il Sole 24 Ore Headquarters

Via Monte Rosa, 91, Milano, Italy

The Milanese financial newspaper, “Il Sole 24 Ore”, recently acquired new headquarters. A pre-existing industrial building from the 60’s, was restored by architects from the famous Renzo Piano Building Workshop. The headquarters/venue space brought new life to an dilapidated industrial building that not only is the Il Sole 24 Ore building, but it hosts a variety of cultural events and exhibitions.

Today the area surrounding the headquarters is under massive renovation. More than 15 years ago, between 1998 and 2004, the “Il Sole 24 Ore” headquarters was an isolated project by Prizker Price archistar Renzo Piano. Now, a new neighbourhood is rising on the grounds that once belonged to Fiera Milano (Milano Fair district that a few years ago moved to Rho).

This new U-shaped building has a vast central garden, a green artificial hill hiding subterranean parking underneath, a cafeteria and an auditorium. An alternation of brick portions and glass facade sheltered by bright-green sun-shading blinds on the outside animate the exterior. The light architecture, of the see-through building with an inner courtyard, is free for any archi-lover to access and visit.

Auditorium Parco della Musica

Via Pietro de Coubertin, 30, Roma, Italy

The Parco della Musica is a multipurpose complex to host musical and cultural events situated between the Olympic Village, the Stadio Flamioni and the Pariol Quarter. In 1993, the City of Rome launched a limited competition for it’s design and construction. The original competition did not stipulate three separate concert halls, however, in order to guarantee maximum flexibility of use and the best possible acoustics, Renzo Piano Building Workshop introduced this new concept to the project.

The Parco della Musica is composed of three separate giant bug-like halls. They are conceived as giant individual musical instruments, ‘resonating chambers’, sitting in a landscape. The three halls are grouped in a semi-circle, their positions to some extent determined by the discovery, during early excavations, of a roman villa on the site and the wish to incorporate its display within the music centre. Each concert hall differs from the other in terms of dimension and functions, but they are all characterized by an extreme flexibility and versatility of the space. By these means, space can be regulated and adjusted to the nature of performance, where floor and ceiling can be moved to adjust the acoustic properties of the wall. The interiors are entirely made of cherry-wood, which best resolved acoustic problems.

This layout results in a fourth space in the centre which became an outdoor amphitheatre known as the ‘Cavea’, with a capacity of almost 3000, an element which gives particular public and urban dimensions to the site. The halls look like three enormous ‘music boxes’, whose colours and materials recall those of the domes dotting the urban landscape of Rome.