FONDAZIONE DELL’ORDINE DEGLI ARCHITETTI, PIANIFICATORI, PAESAGGISTI E CONSERVATORI DELLA PROVINCIA DI MILANO Cm.026/itinerari

Pirelli Skyscraper / 1952-1961 / G. Ponti, A. Fornaroli, A. Rosselli, G. Valtolina, E. Dell’Orto, A. Danusso, P. L. Nervi Pirelli Skyscraper / 1952-1961 / Ponti, Fornaroli, Rosselli, Valtolina, Dell’Orto, Danusso, Nervi

piazza Duca d’Aosta 3, Milano back fl ush with the columns, allowing their close off the lifts, pierced by their shafts, structural tapering to be visible: as loads which once again is an interpretation of The Pirelli skyscraper is certainly one of backlit bands, which emphasize the beams decrease, so too does the cross-section. the correct relationship between form and the buildings that best exemplifi es Ponti’s in contrast with the opacity of the ceiling Based in plan on an elongated diamond structure: in this portion of the elevation refl ections on the notion of fi nite form and panels. The most obvious changes to the shape, its tips have been splayed offering a they are not load bearing and should not the need to integrate art and technology (i.e. project, however, can be found in the design glimpse into the building’s inner workings, be visually confused with the ceramic-clad form and structure), a concept repeatedly of the roof — which in this case, is detached and revealing its bi-valve confi guration “tips”, which function statically as pylons expressed by both Ponti — already in the from the top fl oor, leaving the culmination both in plan and structurally (solved with a and therefore are closed for their full height. thirties — and . of the structural system visible — and to mere four bearing walls, “like a butterfl y”). The process of perfecting the project is A native of Sondrio, a town in northern the façade’s curtain wall, which was pushed Paradoxically, this central gap actually acts fully described by Ponti, who referred to , Nervi joined the design team in as a fulcrum around which the building it as easy and natural, having found a full 1954 along with Arturo Danusso, lending VIEW OF THE BUILDING FROM PIAZZA DUCA is organised. This is even more evident understanding with Nervi, “the simplicity D’AOSTA (PHOTO BY STEFANO SURIANO) his engineering expertise to the planning at night, when the skyscraper becomes achieved is not the result of simplifi cation, of the Milanese tower. Consequently, a paradigmatic example of the discourse but rather of a structural invention, to although the fi nal solution had already on illuminated , a notion the point it being identifi ed with the been prepared, it underwent fundamental previously addressed in the house on Via architecture without any elements being changes responsible for the successful Dezza (1956-1957). Appearing on the rear added gratuitously” (1956). outcome of the building, which received façade of the skyscraper is a “trellis pattern” MANUELA LEONI accolades in specialist publications from — as defi ned by Ponti — of the walls that around the world. The tower stands on a plinth that covers the entire surface of the A TYPICAL FLOOR PLAN (IMAGE COURTESY OF ARCHIVE CSAC AND GIO PONTI ARCHIVES) site and houses both the technical areas and an impressive auditorium. The latter is characterised by beams, which have a variably-sized rectangular cross section, that are woven together to form diamond- shaped bays, illustrating Ponti’s affection for the rhombus, in this case applied to the structure itself. The load bearing framework — very similar to that designed by Ponti and Nervi around the same time for the Lerici Foundation in (1952-1959), — is perfectly integrated with the hall’s fi nished ceiling system, ordered by transparent and

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