18.10.2024

Historic architecture meets modern elegance in Milan

Building design

The Palazzo Venezia in Milan shines in a new light.

The Gran Melià Palazzo Cordusio, originally known as the Palazzo delle Assicurazioni Generali, is a magnificent testimony to Milan’s architectural history. After extensive renovation, it now shines in new splendor. Originally built at the end of the 19th century according to the plans of the renowned architect Luca Beltrami (1854-1933) and formerly used as the headquarters of Generali Assicurazioni, it has now been renovated. Part of the building has been converted into a luxurious hotel. This transformation impressively combines historical substance with contemporary design and creates a unique symbiosis of history and modern hospitality.

The Palazzo Venezia, as the building is also known, was originally built by the Generali insurance company between 1897 and 1901. The palazzo is located in Piazza Cordusio in Milan, where it forms the main building, so to speak. With its eclectic, concave curved façade, it dominates the central square in the city center. It was important to those commissioning the renovation to preserve the building as part of Milan’s collective memory and historical heritage. The renovation and restoration of the Gran Melià Palazzo Cordusio was led by Studio Marco Piva, which was responsible for the artistic direction and the careful transformation of the listed areas. The aim was to preserve the historical integrity of the building while integrating modern functions. The result is a harmonious combination of past and present.
The work on the exterior of the building covered the magnificent façade, the entrance area, the terraces and also included a new lighting concept for the outer skin of the building. The work was carried out in close consultation with the restorer and the supervisory authority. The decision was made to primarily use methods from the field of conservative restoration so as not to destroy the architectural, artistic and historical character of the building.
The interior design of the hotel now comprises 84 rooms – originally around 70 were planned – as well as numerous communal areas. Studio Marco Piva succeeded in preserving the structural elements of the building through targeted conservation measures and adapted the interior spaces to the hotel’s new requirements. This required numerous structural and technical interventions, including the replacement of all existing elevators and the creation of new elevator bodies. In addition, openings were made in load-bearing walls to ensure efficient distribution of corridors to the guest rooms on all floors.

Connecting the main building of Palazzo Venezia with the adjacent Palazzo Cassi-Ramelli in Via Mercanti posed a particular challenge. These two palazzi, which were not originally planned as belonging together, were architecturally harmonized in order to relocate parts of the hotel use to the neighbouring building. The result is a seamless integration of communal areas such as conference rooms and a fitness studio, which are flooded with light thanks to large windows and a glass wall.

One outstanding element of the renovation is the restored inner courtyard of the Gran Melià Palazzo Cordusio, which was originally used as a horse stable and later as a parking lot. This has been upgraded with a striking steel and glass structure that towers above the second floor. This multifunctional space concept can be used for events, conferences or as a breakfast room. The glass roof structure, supported by steel pillars, is seismically independent of the building and consists of high-performance windows.
The top floors of the Gran Melià Palazzo Cordusio house the restaurant and bar areas, which are located in the spacious roof spaces under the dome of the building. The architecture of these areas follows the natural slope of the existing pitched roof and offers a flowing transition to the adjacent outdoor areas. In addition, an exclusive spa and wellness zone was created in the basement, which is complemented by a pool and various wellness facilities.

The monumental staircase of the Gran Melià Palazzo Cordusio, decorated with Rosa Asiago and Verdello marble, has been particularly carefully restored. The historic “Generali Assicurazioni” portal on the second floor has been preserved to pay tribute to the building’s former use. The dome, the architectural highlight of the building, was restored with a sensitive approach, exposing the original stucco work and supporting metal structures. Under the dome, the lighting was designed to respectfully emphasize the historic wooden structures and surfaces.

The technical lighting of the Gran Melià Palazzo Cordusio was implemented by Platek, an experienced specialist in outdoor lighting. Over 400 light sources were installed to impressively highlight the facades and interiors of the hotel both during the day and at night. The lighting solutions include the Mini Corniche series, which provides non-invasive lighting and highlights the architectural details of the building. The lighting system is dimmable and programmable to create different lighting scenes for special occasions and celebrations. The precise illumination of the façades and courtyards creates impressive night scenes and effectively highlights various events and commemorations.
With this extensive renovation, the Gran Melià Palazzo Cordusio has not only preserved its historical significance, but now also offers modern amenities in an architecturally unique setting. The building represents a successful combination of tradition and innovation and sets new standards for historic building renovations in Milan.

Photos: Ottavio Tomasini

15.12.2024

Design

Off into the countryside!

Building design

Undefasa Bali Stone small. Photo: Tile of Spain

Transform your patio, garden & co. into real oases of well-being with Spanish tiles. The days are longer again, the temperatures are rising and the fresh green lures us outside. In order to enjoy your new favorite spot for a long time, it is important to choose a durable and weather-resistant building material for the floor and walls. Spanish ceramic tiles are […]

The days are longer again, temperatures are rising and the fresh green lures us outside. In order to enjoy your new favorite spot for a long time, it is important to choose a hard-wearing and weather-resistant building material for the floor and walls when redesigning.

Spanish ceramic tiles are the perfect choice for any outdoor area thanks to their many positive properties. Their surfaces are non-slip and resistant to weather influences such as rain, snow and extreme temperature fluctuations.

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Pure nature!

The choice of natural looks is inexhaustible, whether in wood, natural stone or terracotta look – everything is possible. Not only the look, but also the ceramic itself is natural – it is produced from earth and water according to strict European standards and is also very sustainable and environmentally friendly.

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Many tile series are ideal for laying both indoors and outdoors. By laying the same tile series – indoors and outdoors – living spaces can be cleverly enlarged visually. An almost seamless transition favors this effective effect. Especially when using large-format tiles, as these only have a few joints. Spanish manufacturers also offer many of their series in two qualities for indoor and outdoor use.

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Not only in gardens, but also in large areas such as parks and public spaces, Spanish ceramics unfold all their advantages. The slabs can withstand enormous pressure loads and have a long service life of at least 30 years.

The current lookbook offers great inspiration with many beautiful examples for all tile applications in the home and garden. Simply write to us at info@tileofspain.de or request up to 100 free copies via www.tileofspain.de.

15.01.2025

Thomas Kröger builds in Munich: urban repair and trophy view

Building design

Facade

View of the first courtyard. Photo: Philipp Obkircher

Thomas Kröger has built a luxurious apartment building on the banks of the Isar in Munich. However, the architect’s design was less concerned with ostentation than with a sensitive dialog with the historic neighboring buildings.

Thomas Kröger has built a luxurious apartment building on the banks of the Isar in Munich. However, the architect was less concerned with ostentation in his design than with a sensitive dialog with the historic neighboring buildings.

The view from the roof terrace of the new building is impressive. On one side you can see the Isar river, which flows in front of the building, and on the other the famous Munich city skyline with St. Peter’s, the Frauenkirche and the Theatine Church. The duplex penthouse, to which the terrace belongs, would probably be called a “trophy home” in the USA. Incidentally, the apartment has already been sold, as have all but one of the other units in the Erhardtstrasse 10 project. The interior work is currently being completed in line with the new owner’s wishes. In future, he will be able to enjoy the view through the two-storey window wall, over which architect Thomas Kröger has placed a semi-transparent roof made of copper slats. Large wave-shaped openings, which look like dormers from a distance, showcase the view of the Isar.

The copper roofscape is one element with which Kröger fits his house into the riverside row with its late historicist and Art Nouveau façades. Another is the enormous and expansive bay window with which the architect closes off the street façade to one side. In addition, the details of the house show a great deal of decorative pleasure, which it shares with the neighboring buildings. The most striking feature is the painting on the façade, a kind of multicolored serrated band that runs across all the wall surfaces. Kröger is alluding to the sgraffito and wall paintings that were widespread in Munich up until the 1950s, which are apparently currently experiencing a small renaissance – Hild and K also had their recently completed commercial building on Weinstrasse lavishly decorated with paintings(see Baumeister 5/2021).

Naturally, Kröger was required to make the best possible use of the deep and irregularly cut plot. As a result, two further transverse buildings with side wings are now staggered behind the front building. The front of the two inner courtyards is covered by a roof with a huge circular cut-out – an element that is reminiscent of both an oversized opaion and round courtyards, such as those found at the Villa Farnese in Caprarola. This courtyard effectively continues the sequence of rooms that begins in the foyer of the house and then leads down a few steps. According to Kröger himself, the upper-class apartment buildings in Milan from the 1950s with their elegant entrances were the inspiration for this solution.

The stairwells, on the other hand, are small. A lot of black also contributes to making these areas of the building appear somewhat undersized. In the larger apartments in the front building, however, the elevator leads directly to the entrance area, so that the stairwell takes on the role of an escape route rather than an access route. Some of the apartments in the first rear building have complex layouts and are lit by the two courtyards and additional light wells. The floor plans here bear witness to the exploitation pressure that clearly played a role in the planning.

Despite this and the challenging shape of the plot, Thomas Kröger has undoubtedly succeeded in designing a well-designed building that blends harmoniously into the cityscape. It radiates a self-assured and comfortable bourgeoisie that one would wish for elsewhere. The purchase prices of the apartments in the front building, on the other hand, can hardly be described as bourgeois; they cost – or have cost – a mid-single-digit million euro amount, because, as mentioned at the beginning, only one last apartment is still available.

Speaking of expensive housing: architect Jean-Christophe Quinton has achieved the opposite with his Parisian residential building with a sandstone façade, which houses social housing.