DesignApplause _ Revisiting

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nApplause | Revisiting rho-pero exhibition complex. Glass and green. http://designapplause.com/2010/revisiting-rho-pero-exhibition-com

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(http://designapplause.com/wp-content

/xG58hlz9/2010/04/rho-glass11.png)
























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(http://designapplause.com/wp-content/xG58hlz9/2010/04/rho-glass9.png)

(http://designapplause.com/wp-content/xG58hlz9/2010/04/rho-glass10.png)

The architect.

Massimiliano Fuksas describes his project:

“The New Milan Trade Fair is part of that family of projects of a great dimension which includes airports, stations,

distribution centers, harbors, and generally speaking, “the cathedrals” of new society.

These are places which go beyound their crucial economic functions. These are the places of meeting, of ideological

exchange, of relationships, of opportunities.

New Milan Trade Fair is a great architectural project for the territory. Its dimension renders it one of the major complex

nowadays on building in Europe. It’s part of the recovery of wide urban spaces, of the territory which goes beyound the

borders of the city itself. Areas which aspire to become “geography”, landscape. The abandoned areas and suburbs call

for important interventions.

The critical mass of the intervention, more than 2 million square meters and more than half million of construction, are the

starting point. I thought about a unity complex, of simple geometry.

The project is characterized by the great central axis: the great transparent coverage modifies spaces and represents

the continuity of the vision. The service center, the offices, the convention area, are the fulcrum of the entire system,

transistion from honour “entrance” to central axis. On the sides, the pavilions, with big facades made of reflecting metal,bring back the life and the images of the pathway.

Architecture is “contaminated” art: she lives in other universes, she observes modifications and changes, she attempts to

synthetically represent what happens. Architecture is not only inspired by architecture, but she tends to comprehend and

to talk to everyone.

In a moment of very few “visions” looking to the future, and the mere runing of quotidian life and of existence, this project

seems to be part of the European more dynamic scenery. It exists a demand and a desire of architecture, of emotions.

This project is ambitious. It is addressed to the future visitors, and firstly, it tries to pay much attention to people wo will

work and spend their days inside the Neww Milan Trade Fair.

Our country resumes a route which has been interrupted for more than 30 years, thus putting under construction one of

the most important international trade fair complex.” [MF]

The concept.

The pavilions’ 20 exhibition modules link via a 1,300-meter long central passageway suspended 6 meters above the

ground. The eight pavilions create a gross exhibition area of approximately 345,000 square meters; the external

exhibition area covers 60,000 square meters. The hotels, eating areas, and a commercial gallery with more than 200

shops within the complex also offer recreation and culture. Approximately 20,000 parking spaces serve visitors.

Drapes of glazing.


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Excerpts of Glass Magazine

Says Terry Peterson, vice president of sales for the engineering firm for the project. “The ability to create a single-layer

fully glazed structural grid in the form of the Alps pushes the technological boundary out well beyond current standards.”

The Vela is nearly 1 mile long, 100 feet wide and clad with approximately 500,000 square feet of glazing.

Free-form structures such as these defy the rules of common shapesflat in-plane, pyramidal, barrel vault, dome or

hyperbolic surfacesand take on shapes totally free in form. “The edges can bend up and down with the frequency of a

mountain range, obviously with material limitations that prevent complete flexibility,” Peterson says. Free-form structures

are typically metal clad, usually stainless steel. The Jay Pritzker Pavillion in Chicago’s Millennium Park, designed by

Frank Gehry of Los Angeles, is a good example of metal-clad free-form architecture. “The steel support structure is

hacked out and welded up in creating a bizarre shape,” Peterson says. “Then the hacked-up and ugly steel is clad over

and completely concealed by the stainless steel cladding material.

However, with a glass free-form structure, you cannot hide the steel underneath, because glass doesn’t offer the opacity

of metal cladding. Therefore, it is much more challenging, because the steel support structure is completely exposed and

must work with the glass cladding in creating beautiful architecture.”

A green project.

For the construction of the New Fair, the land-owner, Fondazione Fiera Milano, a private company, cleaned up a

brownfield area of 1.5 million square meters that had been a burden on residents of the surrounding territory for years,

according to the Internet site. The Agip gas refinery previously occupied the site. The cleanup took a little more than a

year. Of the reclaimed area, 180,000 square meters is green, with 2,500 trees in the fairgrounds and a 9-hectare park

in the northwest side of the complex. The complex uses ground water for cooling heat pumps, thereby saving drinking

water. It is heated by a heat-valuator plant in nearby Figino that runs on urban waste from Milan. The plant also

produces electricity, and an emergency electricity line from Figino to the New Fair will be set up to provide power in case

of a blackout, according to the site. Special photo catalytic titanium-based paint used in the complex oxidizes or

decomposes the pollutants present in the atmosphere or produced by combustion. The paint work on more than 100,000

square meters of treated surface area in the complex can neutralize the pollution from 30,000 vehicles, the site claims.

The time line.The New Fair, said to be the largest fair complex in the world, was built a square meter per minute for a total of 10

million hours, according to its Internet site. Construction was scheduled to be completed in 30 months, but Nuovo Polo

Fieristico S.c.r.l of Rome, the general contractor, took 24 months to complete the project from the first foundation pole

to the opening, the site says. Fifty-five percent of the structure was produced outside of the site, in Italian and other

European workshops, and assembled on site in a “large open-air meccano.” More than 9,000 workers from 62 countries

lived and worked together in what may be among the largest construction sites in Europe. More than 300 companies

were involved. Workers from foreign countries lived in a village created for them in Mazzo di Rho that had approximately

1,000 beds. They ate at a canteen with 450 seats.

July 2003: Award of contract

July 2003-October 2003: Approval of planning and programming works

November 2003: Full-size mock-up for Vela

November 2003-June 2004: Fabrication planning

November 2003-October 2004: Fabrication of columns, nodes and struts

December 2003-November 2004: Glass fabrication and delivery

February 2004-December 2004: Installation and hand-over

Designer: massimiliano fuksas (http://www.fuksas.it/)

[full story at glass magazine (http://www.glassmagazine.com/article/commercial/drapes-glazing-new-milan-trade-fair) ]


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Resources:

architectour.net (http://www.architectour.net/opere/opera.php?id_opera=5584)

designbuild-network (http://www.designbuild-network.com/projects/fieradimilano/)

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