Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.
Loft del Forte in Venice, Italy by Caprioglio Associati Architects
May 15th, 2016 by Sumit Singhal
Article source: Caprioglio Associati Architects
The building on which we intervene belongs to the complex of buildings of the compendium , developed over time , beginning in 1883 until the thirties of the twentieth century , the ” oils and greases ” Federico Matter .
The only image that you have of the settlement OILS MATTER relates to the decor of a letterhead dated 23 October 1912 .
In it, the Dutch title and the factory overlooking the Via Forte Marghera match the existing, recently restored and destined to the offices of the Mestre headquarters of the Chamber of Commerce, Industry and Crafts.
The image that perspective through typical setting of the era advertising taste, is certainly emphasized by lines of flight, allows you to appreciate the facility ordered in volumes with roofs and huts perpendicular to Via Forte Marghera. It is split in two plexuses, presumably connected by one or more (is not given to assess more than one), shelters windows, crossing a central courtyard.
The first, overlooking Via Forte Marghera, is inspired by architecture of the façade, in brickwork and plaster, Nordic types (Dutch), perhaps inspired, on a smaller scale, to the taste brought to Venice from Molino Stucky and from the nearby brewery on the Giudecca.
The second forms a backdrop ordered relative to all and consists of a gabled pavilions each other with equal oculus and central mullioned window.
Two elements characterize the modern energy and hard work of the factory: the power line and a smoking chimney on the bottom.
The Land Registry Austro-Italian, supporting document until 1925, is a statement of all issues made as to the interpretation of the state of the era. In fact, the plant that can be seen is three pavilions of which two of them detached perpendicular to Via Forte Marghera and third postico perpendicular to them.
The system then organizes three buildings around a courtyard.
It seems clear that in the period following this first implant was placed third body between two perpendicular to Forte Marghera, while the body postico, presumably made with architecture that can be seen from the iconography of the letterhead of 1912 was subsequently demolished to give rise to a reconstruction to shed corresponding in part to the existing one. It as discussed below was certainly the result of the expansion of the property towards the large courtyard of relevance place to the east, acquired and functionally adapted to new and most recent needs of the “Oils Matter”.
The historical-critical analysis that results show a substantial difference between the advertising image that had been widespread realization of the industrial and reality.
The large central courtyard separating the two buildings and is not given to know whether the second has been, in the form illustrated by the advertising title, quandanco the answer, following the reading of the Land Registry Austro-Italian, it may be positive, to the equivalent to postico volume compared to the Via Forte Marghera.
Over time the volume postico was certainly demolished, if realized, and replaced by new volumes oriented on the large patio to the east, adjacent to the first plant after World War II, where they spent the loading and unloading of goods.
The annulment thus the inner courtyard, the central between the two complexes, and the annexation of a new space that will likely involve a change of orientation of the secondary artifacts that gradually added.
The overall system thus assumes a new configuration with dual orientation of the foot, causing it to today’s compositional logic.
In particular, it can therefore be argued on this dual orientation, relative to the “original compositional logic.”
It would be articulated in fact on an original plexus corresponding to a compositional logic of the first phase, perpendicular orientation of the buildings and their cover pitched gabled, at Via Forte Marghera.
A second complex, replacement of the connecting courtyard (equipped with overhead canopies) and possibly the secondary original complex, with buildings oriented with fronts and access to the new big yard to the east.
It suggests, quite clearly, that the volume on which operates the project has been built with the present configuration, since the orientation of the foot and aligned with the buildings of the first plexus perpendicular to it, determining itself in such a manner comparatively , but especially in the functional relationship with the opening of the large double height space to the new court, acquired the new factory capabilities.
This plant large unit volume open to the courtyard, to allow easy access and probably in origin constituting a large shed, then caught by one hole volumes that have closed the open archway to the courtyard.
The structural type of iron trusses reading to bring the only coverage of a great light, corresponds to the structure of many roofs of Porto Marghera with similar features built between the ’20s and’ 30s of the twentieth century.
As for the single-storey volume with double pitched roof, so this is clearly the accretions of no architectural value or typological, corresponding to the period after the first plant, which provided a good chance, evincibile the type of structures (carpentry in iron), a set-to shed, when it ceased the industrial activity of the Matter and since the 60s also changed the functional structure of the plant construction and large courtyard to the east.
It seems thus presumably so the change that the project involves the massing to the east, aimed at eliminating the obvious superfluous, devoid of any architectural and functional connection with the “original compositional logic” of the plant.
By contrast, the proposed amendment seeks to increase the “retraining” and the recovery of the substantial configuration and comprehensive source of new volumes aimed at creating a new functional structure in relation to the courtyard.
It seems therefore to consistently proposing the project action with the aim of the rule in art. 15 of N.T.A. Variant of the historic center of Mestre.
The analysis highlights the assumption of the rule to read correctly the building fabric which is characterized by type and morphology of ” poor quality and with signs of alteration ” .
The project intervenes , within normal limits , with ” restructuring of the inner parts ” and an external edit by ” modest ” aim , as part of the new residential use , to ” riqualificarne and recovering the configuration according to the substantive and comprehensive ” compositional logic original ” .
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