Académique Documents
Professionnel Documents
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lidiya zyskina
client : City of Rome use: multi-functional auditorium complex dedicated to
project: Parco della Musica Auditorium music peformance
architect: Renzo Piano Building Workshop-Renzo Piano, principal; area: 12 acres (site); 82,274 m2 (floor area)
S. Scarabicchi, partner in charge location: Rome, Italy
engineers: Studio Vitone & Associati (structural); Manenes date of completion: 2002
Interecnica (mechanical) cost: US $ 102,000,000
location
The auditorium complex is situated in the valley betwen the banks of the Tiber and the hill of Parioli. Construction of a building in the
very dense historic center of Rome proved impossible at such a scale. The decentralized site proved advantageous, because spacially it
could accommodate and manage larger crowds than anywhere within the limits of the center. Also, there was already the Olymic Village,
built for the 1960 Games, the Palazzetto della Sport, and the Flamingo Stadium. Renzo Piano was therefore merely “weaving together
what for a long time had been considered an ‘artificial fracture’ in the urban tissue of the city of Rome (a parking lot).”1
The project can be
described as three “music
boxes” that float over a sea
of vegetation. A space has
been left open between
the three buildings that
has become the fourth and
open air concert hall.
Space that is not occupied
by the auditoriums or
site adjacent ancient ruins
and museum has been
absorbed by a park that
went up at the time of
the complex. The parks
vegetation has become the
link between the sparse
vegetation of the Flamingo
district to one side and the
abundant vegetation of
the Villa Glori to the other
side.2
The Parco della Musica complex
was conceived with “music in mind,”
as much by the configuration as by
the materials employed. The form
is purely functional, derived from
extensive studies to ensure perfect
sound reverbation. Thirty plus years
working with acoustic professionals
gave Renzo Piano and his team the
knowledge to ultimately achieve this
wonder of an auditorium complex.3
concept
program
construction
structure
Structure in the auditorium is organized as a series of skins. A lead-tile clad roof wraps a skin of heavy-timber, gluelam beams.
These wooden parts are anchored to steel rods that run diagonal between the two curtains of structure and act as cross-bracing. The
second certain serves also as the interior walling system onto which the acoustic panels are anchored.
To best understand the structure
in Parco della Musica, one must
first understand a previous work
also by Penzo Piano. This is the
Jean-Marie Tibaou Cultural Center
in New Caledonia, off the coast of
Australia. The main structure in this
center is a bow and post system,
reflecting a style similiar to that of
native Melanesian hut. This system
consists of a double, glulam, wood
wall, which act as “upright structural
ribs.” There is little deviation from
this structural system in the Parco
della Musica, which is to come four
years after the center is built.
Cross-bracing between the interior, acoustic walling and the laminated, gluelam beams allows the load to be transferred from the outer
shell to the inner shell, and on to the brick base. Noteworthy is the fact that the entire skin system cantilevers out from the brick base.
The means that a very heavy foundation holds an enitire system in place.
An important detail in the structure is in the use of steel boxes used to fasten the wooden gluelams to the interior walling. At these poins,
the tubes and rods of the cross-bracing system join. Here, the bending stress is in the outer ends and therefore there is no tension or
compression at the middle.
skin
Metamorph : 9. International Architecture Exhibition. New York, NY: Rozzoli Intrnational Publications,
Inc., 2004. 62.
Piano, Renzo. Architettura & Musica. Milano: Edizioni Lybra Immagine, 2002. 27-29.
Piano, Renzo. On Tour with Renzo Piano. London; New York: Phaidon, 2004. 253.
Pizzi, Emilio. Renzo Piano / Emilio Pizzi. Basel; Boston: BirkhäUser, 2003. 106.
Renzo Piano Building Workshop. HumlebæK, Denmark: Louisiana Museum of Modern Art, 2003. 106.