The Patient Gardener by Visiondivision

The Patient Gardener by Visiondivision

A circle of trees will frame an hourglass-shaped hut for Milan that won’t be complete for 100 years.

The Patient Gardener by Visiondivision

Swedish architects Visiondivision and a group of students designed the two-storey study retreat, which is currently growing on the Politecnico di Milano campus.

The Patient Gardener by Visiondivision

Aptly titled The Patient Gardener, the garden structure will be shaped from a circle of ten Japanese cherry trees that will be bent, pruned and woven as they grow.

The Patient Gardener by Visiondivision

The trees will be tied to a central wooden scaffold to frame the dome-shaped ground floor, whilst branches above will be directed outwards as first-floor walls.

The Patient Gardener by Visiondivision

Two of the trees will be woven together as a staircase.

The Patient Gardener by Visiondivision

Plum tree stumps will provide chairs and an armchair will be fabricated from cardboard and grass.

The Patient Gardener by Visiondivision

Visiondivision previously designed another landscape project, this time an underwater concrete habitat for crayfish – see this project here.

The Patient Gardener by Visiondivision

Here’s a description of the project from Visiondivision:


Visiondivision was invited as guest professors by Politecnico di Milano for their week-long workshop MIAW2.

The workshop, playing with the metaphor of forests, aimed to generate new visions to explain the contemporary and immediate future ways of being in the spirit of green design, resilience, recycling, and ethical consciousness.

Our intention with our project was to construct a study retreat at the campus with patience as the main key for the design. If we can be patient with the building time we can reduce the need for transportation, waste of material and different manufacturing processes, simply by helping nature grow in a more architectonic and useful way. The final result can be enjoyed at Politecnico di Milano in about 60 years from now.

During the workshop we gave nature all the guidance and directions to help it grow into useful structures and objects. There are different methods and tools to guide and control the growth of trees and plants; bending, twisting, pruning, grafting, braiding, weaving and to control the amount of water and light the trees get are just some examples of these. We used almost all of these techniques in our creation, which involved creating a structural system for the building and also stairs and furniture, all made out of trees, plants or grass.

Our structural frame for this project became ten Japanese cherry trees that was planted in a circle with a diameter of eight meters with a six meter high temporary wood structure in the center that is acting as a guidance tower for the growing structure. The trees were planted with an equal spacing from each other, except for four of them that became two pairs of stairs to the future upper level.

The cherry trees were ideal to plant at that time of year and also had great features for achieving the desired structure. Thin ropes were tied around the plants and were slightly bent towards the temporary tower.

As time passes the trees will form a dome when they reach the tower, and then designated by to change its direction so the final form will be an hourglass, a suiting shape for the project and also a very practical form as we now have two rooms with different modes in the building.

The small branches on the plants that will grow into stairs are guided with wires to each other and will hopefully be useful later on. The rest of the stairs can later be grafted in the stair trees.

On the ground level we designed furniture out of grass, trees and plants. There are a dining group consisting of a table with four chairs. The chairs are plum trees where one sit at the lowest fork and the branches are guided into canopies so the future visitor can sit in the chair while at the same time eating delicious fruits. The table is made out of slender wooden pieces with strings in the structure, which forms a skeleton where hedras can grow and later take over the structure completely. A comfortable chair made out of grass are located on the other side of the ground floor. The grass chair is put together with the use of a custom made cardboard structure, shaped for maximal relaxation and that is painted with a protection coating and that is later filled with soil on site and draped with grass.

A grass puff is also made and placed in the tower where the floor of the upper level will be. The puff is a big potato bag filled with straw, soil, fertilizer and grass seed. An organic rope is placed with a third of its length inside the bag, and the bag is later sewn together. The rest of the rope is placed in water so the puff gets water and will later be covered in grass, so when the trees finally reaches this level and becomes the floor, it will already be furnished.

Together with the students we worked out a maintenance plan and instructions to future gardeners that is simple enough to actually work. On the structure, we instructed that a pattern of wood will be grafted in, leaving two spaces between the trees as entries/exits and the rest is closed in ornamental patterns with branches. On the upper level which is reached by the two staircases with exquisite handrails, is different fruit trees grafted into the cherry trees so the visitor can have a variety of fruits while relaxing in the canopy. Branches are also grafted in for security reasons between the tree trunks.

In about 80 years from now the Politecnico di Milano campus will have a fully grown building and the students will hopefully have proud grandchildren that can tell the story of the project for their friends and family.

Partners in charge: Anders Berensson & Ulf Mejergren
Curators: Laura Daglio & Oscar Bellini
Students/Architects/Builders: Rachele Albini, Giada Albonico, Jacopo Biasio, Sara Caramaschi, Elisa Carraro, Desislava Dimitrova, Cristina Gatti, Elisa Gulino, Mariya Hasamova, Nina Mikhailova, Ottavia Molatore, Joao Molinar, Azadeh Moradiasr, Mohyedin Navabzadeh Navabi, Giuseppe Maria Palermo, Riccardo Somaini, Bogdan Stojanovic
Organizers: Luca Maria Francesco & Fabris Efisia Cipolloni
Location: Politecnico di Milano
Project area: 50 sqm
Project year: 2011-2090


See also:

.

South Pond by
Studio Gang
KAPKAR/TO-RXD by
Frank Havermans
Pavillion by Wing Yi Hui
and Lap Ming Wong

Endless

Ross Lovegrove explores elegant furniture design through fluid sculptural form in a new show in Milan

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A design novice might be quick to throw the work of Ross Lovegrove in with the grandiose designs so highly sought after a decade ago, but the legendary Welsh designer’s glossy aesthetic isn’t without purpose. His new solo show in Milan, called “Endless,” demonstrates Lovegrove’s continual exploration of new materials and his elegant approach to functional design.

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Endless picks up where his 2007 show “Endurance” left off, with Lovegrove adding two new pieces of polished aluminum to his Liquid Collection. The Long Liquid Bench and Liquid Shelving seem to spontaneously adapt to invisible lines, defining a sinuous silhouette that Lovegrove derived from the natural world. The limited edition pieces are not only sculpturally beautiful, but they also speak to a strong interest in efficiency, consuming little energy while maximizing space.

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Part of the installation includes a video piece, amplifying the essence of his robust but nimble designs through colorful projections that bounce off the forms. Endless will run from 8 September through 1 October 2011 at Cardi Black Box Gallery.


Excelsior Milano

Macaroons, emerging fashion and more at Milan’s newest shopping destination

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Of the many upcoming events planned for the Vogue-sponsored global shopping push Fashion’s Night Out, the debut of Excelsior Milano might make the biggest splash. The work of Italy’s biggest fashion retailer Gruppo Coin, the new complex is located right in the heart of the capital of fashion in a former cinema that has been totally renovated by French starchitect Jean Nouvel.

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We had the chance to visit the store before the opening to carefully observe every detail. The project is courageous and innovative; there’s a lot of empty space, proof of how the management chose to work on quality rather than quantity. Lending warmth and sophistication, the choice of lighting and materials, as well as the rhythm of volumes and surfaces, makes the space feel similar to a private art gallery.

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Antonia, well-known for her taste and ability to mix avant-garde and business, is behind the choice of brands, clothes and accessories. As a result, Excelsior Milano perfectly balances the concept boutique with a department store.

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On the first floor, the focus is on contemporary American designers (still slightly unknown in Italy) such as Theory, Rag & Bone, Alice and Olive and Vince. Mixed in among the clothing you will find home design by Skitsch and the accessories of Globe-Trotter, Mario Portolano and Antipast, as well as a Borsalino limited-edition made exclusively for Excelsior Milano. Other floors will offer more in the way of the pursuit of excellence with labels including Christian Louboutin, Giuseppe Zanotti, Jimmy Choo, Sergio Rossi, Pierre Hardy and Repetto. Also look out for items by Givenchy, Proenza Schouler, Zagliani, Marni, Chloé and Manolo Blahnik.

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The ground floor will house a bar (open until 2am), cosmetics, flowers, the luxurious Ladurée macaroons, the sophisticated L’Olfattorio bar à parfums and Tiffany & Co.

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In addition, Eat’s space is a real surprise—an actual supermarket, with fresh food, meat, fish, vegetables and wines. The restaurant will offer three dimensions, “now” for the elegant take-away, “fast” for the bistro characterized by seasonal specials, and “slow” for the more traditional restaurant, regularly hosting renowned guest chefs like Davide Oldani.

Excelsior Milano opens Thursday, 8 September 2011, and in other Italian cities over the next few years.


Zona K by Pietro Bagnoli and Franco Tagliabue

Zona K by Pietro Bagnoli and Franco Tagliabue

The ceiling of a drama studio in Milan is imprinted with inverted bubbles that house both spotlights and skylights.

Zona K by Pietro Bagnoli and Franco Tagliabue

Italian architects Franco Tagliabue of ifdesign and Pietro Bagnoli converted a former office building into the Zona K studio, which can be used for events and exhibitions as well as for drama rehearsals and performances.

Zona K by Pietro Bagnoli and Franco Tagliabue

The bubbled ceiling over the main hall is comprised of suspended cones that regulate acoustics, whilst concealing electrical cables and ventilation passages.

Zona K by Pietro Bagnoli and Franco Tagliabue

Pairs of fluorescent lights are hidden inside each of the cones, although only a selection of the bubbles double up as roof lights.

Zona K by Pietro Bagnoli and Franco Tagliabue

Furniture slots into the walls of corridors that lead from the hall to changing rooms, toilets, a canteen, an office and an entrance cafe at the front of the building.

Zona K by Pietro Bagnoli and Franco Tagliabue

Other stories about studios on Dezeen include an apartment combined with a choreography studio and a dance studio with the illusion of mist in the air.

Zona K by Pietro Bagnoli and Franco Tagliabue

Photography is by Andrea Martiradonna.

Zona K by Pietro Bagnoli and Franco Tagliabue

The following text is from Bagnoli:


Zona K

Scuola di teatro (Dramaturgy school)

Zona K by Pietro Bagnoli and Franco Tagliabue

This project deals with the renovation of a former workplace purchased by a director and playwright to establish a dramaturgy school.

Zona K by Pietro Bagnoli and Franco Tagliabue

The aim was to create a very flexible and neutral space able to accommodate at the same time events, exhibitions, concerts, courses, performances and lectures.

Zona K by Pietro Bagnoli and Franco Tagliabue

A spectacular hanging cones ceiling, modulating natural and artificial lighting, acting as an acoustic modulator and hiding impressive electrical and air passages, sets the tone to this vibrant place.

Zona K by Pietro Bagnoli and Franco Tagliabue

Client: Nuove Imprese Culturali (via Spalato, 11 – Milano)

Zona K by Pietro Bagnoli and Franco Tagliabue

Dimension: 320 sqm

Zona K by Pietro Bagnoli and Franco Tagliabue

Year: 2008-2010

Zona K by Pietro Bagnoli and Franco Tagliabue

Builder: CO.VE.RI. srl, Artec srl

Zona K by Pietro Bagnoli and Franco Tagliabue

Architectural Project: Pietro Bagnoli, Franco Tagliabue (Ifdesign) with Silvia di Vita, Ida Origgi, Chiara Toscani

Zona K by Pietro Bagnoli and Franco Tagliabue

Consultants: Luca Leo, Stefano Gervasi, Diego Borroni , Guido Scavini

Zona K by Pietro Bagnoli and Franco Tagliabue

Graphic Design: Fabiano Cocozza

Zona K by Pietro Bagnoli and Franco Tagliabue


See also:

.

Marni store
by Sybarite
R-House by
Budi Pradono
Interpretation centre by
Alvarez-Sala Architects

Alessi Milano Shop Resort

Alessi launches its Milan flagship designed by Martí Guixé
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For 24 years the house of Alessi in Milan was the store on Corso Matteotti, originally designed by Ettore Sottsass and later renovated by Atelier Mendini. Nevertheless, last week Alessi opened a totally new store conceived by design star Martí Guixé.

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The project follows the collaborations for the Shop Museum in Paris and the recent experience of their exhibition at the Triennale Design Museum. Just a short walk from Montenapoleone, the store is located in via Manzoni, close to the metro station La Scala Theatre and the beautiful Poldi Pezzoli Museum.

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Divided into four different sections, the space includes a large entrance overlooking Via Manzoni and an area called Museum to display the most sculptural objects in a gallery-like setting. A retail section is reminiscent of the old space, though turned upside down, and “Wunderkammer” hosts new collections and curiosities. Each section has its own strong character, with different lighting systems custom-designed by Guixé himself and produced by Danese.

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The predominant colors are glossy red, shiny white and grey, while the materials are mainly aluminum, ceramic, resins and wood. The result is a perfect mixture of Alessi spirit and a design gallery.


Christ’s Resurrection Church by Cino Zucchi Architetti

Christ’s Resurrection Church by Cino Zucchi Architetti

Photographer Filippo Poli has sent us these images of a Milan church with a grey, striped exterior by Italian studio Cino Zucchi Architetti.

Christ’s Resurrection Church by Cino Zucchi Architetti

The striped facade is composed of vertical panels of concrete, white stone, zinc and glass.

Christ’s Resurrection Church by Cino Zucchi Architetti

Containing both a church hall and a parish centre, Christ’s Resurrection Church replaces a warehouse church that previously occupied the industrial site.

Christ’s Resurrection Church by Cino Zucchi Architetti

The otherwise rectangular building has an angled wall and roof that create a point at one corner, framing the main entrance.

Christ’s Resurrection Church by Cino Zucchi Architetti

Inside the church hall two concrete walls curve up to the ceiling, creating the illusion of a pitched roof.

Christ’s Resurrection Church by Cino Zucchi Architetti

More stories about churches on Dezeen »

Christ’s Resurrection Church by Cino Zucchi Architetti

More projects in Italy on Dezeen »

Christ’s Resurrection Church by Cino Zucchi Architetti

The following information was provided by the architects:


“Christ’s resurrection” Church, Sesto S. Giovanni (Milan) 2004-2010

Cino Zucchi Architetti with Zucchi & Partners

Closed competition –first prize

The new church and parish center is located in a narrow plot of Milan’s industrial periphery.

Christ’s Resurrection Church by Cino Zucchi Architetti

The hard townscape of the neighbourhood and the story of the previous church (a warehouse-like building built in the sixties by workerpriests) suggested the simplicity of its design, which emerges from the surrounding fabric only by few strong gestures.

Christ’s Resurrection Church by Cino Zucchi Architetti

The street façade bends inward to acquaint for the main diagonal view, and the high hall takes the shape of a large rectangular box enriched by two large “sails” embracing the assembly.

Christ’s Resurrection Church by Cino Zucchi Architetti

The fronts are panelled in vertical strips of different materials (concrete, white stone, zinc, glass) whose rhythm responds to the different edge conditions.

Christ’s Resurrection Church by Cino Zucchi Architetti

Credits:

Client: Diocesi di Milano
Dimensions: 6.570 m³

Christ’s Resurrection Church by Cino Zucchi Architetti

Preliminary design project: Cino Zucchi Architetti
Cino Zucchi, Helena Sterpin, Filippo Carcano, Cinzia Catena, Silvia Cremaschi, Cristina Balet Sala
with Anna Bacchetta, Annalisa Romani, Martina Valcamonica, Valentina Zanoni

Christ’s Resurrection Church by Cino Zucchi Architetti

Definitive and executive design project: Zucchi & Partners
Cino Zucchi, Nicola Bianchi, Andrea Viganò, Leonardo Berretti, Ivan Bernardini

Christ’s Resurrection Church by Cino Zucchi Architetti

Click above for larger image

Manager of works: Zucchi & Partners
Nicola Bianchi, Marcello Felicori

Christ’s Resurrection Church by Cino Zucchi Architetti

Click above for larger image

Rendering: Filippo Facchinetto
Model: Filippo Carcano, Paola Andreoli, Roberto Rezzoli

Christ’s Resurrection Church by Cino Zucchi Architetti

Click above for larger image

Consultants
Liturgist: Don Giovanni Mariani, Don Giovanni Zuffada
Cost estimate: Zucchi & Partners
Structural engineering: Mauro Giuliani, Redesco srl
Ligh engineering: Cinzia Ferrara, Ferrara Palladino srl
Plant engineering: Gianfranco Ariatta, Ariatta ingegneria dei sistemi srl

Christ’s Resurrection Church by Cino Zucchi Architett

Click above for larger image


See also:

.

Church in by Massimiliano
and Doriana Fuksas Architects
Tampa Covenant Church
by Alfonso Architect
Notre Dame Rosary Church
by ENIA Architects

Dezeen Screen: interview with Nick Regan of Laikingland

Nick Regan of Laikingland

Dezeen Screen: this movie filmed by Dezeen in Milan features Nick Regan, one of the co-founders of kinetic object company Laikingland, presenting their recent work at Ventura Lambrate. Watch the movie »

Dezeen Screen: Interview with Tord Boontje on RCA Intent show

Tord Boontje, head of Design Products at the Royal College of Art

Dezeen Screen: In this movie we filmed in Milan last month, the Royal College of Art‘s head of design products Tord Boontje talks about the exhibition of student work presented at Ventura Lambrate and describes the themes and trends occupying young designers today. Watch the movie »

Nivea Blue Century

The German cream of creams celebrates 100 years with an installation in Milan
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Nivea‘s iconic blue tin is the focus of the German brand’s 100th anniversary, a feat they are celebrating in Milan with an imaginative video installation. Designed by Italy’s PianoB studio, the round shape and blue color surround the visitor, in a constant kaleidoscope of sounds, images and the cream’s signature scent.

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The exhibition is the latest appearance of the Nivea Lab, a series of events and cultural initiatives aimed to enact the company’s commitment in joining arts and industry.

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The animated interactive video installation is comprised of hundreds of images and commercials taken from Nivea Italia‘s archives. The event also brought with it a special temporary shop where you can buy classic products as well as some limited editions, and a book about the first century of this “cream of creams.” Nivea Blue Century is on view through 14 May 2011 at Metropol.


Sheraton Milan Malpensa Hotel by King Roselli Architetti

Sheraton Milan Malpensa Hotel by King Roselli Architetti

This 436 room hotel situated next to Malpensa Airport, Milan, has a rounded shell cut into seven bays, designed by Italian firm King Roselli Architetti.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

The Sheraton Milan Malpensa Airport Hotel & Conference Centre has a continuous fibreglass skin exterior which is wrapped around a series of steel arches to give the building its curved shape.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Hotel windows face out from the recessed openings, avoiding any direct views into the rooms from the adjacent airport.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Internally the hotel lobby is defined by a woven ceiling, which is reflected in the polished terrazzo floor.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Exterior photography is by Santi Caleca.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

More stories about hotels on Dezeen »

Here is some information from King Roselli Architetti:


King Roselli Architetti

The Sheraton Milan Malpensa Airport Hotel & Conference Centre- 2005-2010.

Design for architectural exteriors of hotel at Malpensa Airport (Milan, Italy).

Sheraton Milan Malpensa Hotel by King Roselli Architetti

We were commissioned to design the exteriors of this large hotel in front of Malpensa International Airport as a result of our competition winning entry for the overall design of the building. Despite its size (420m long, 64m wide, 21m high) the building was conceived as a design object. Partly because Milan is Italy’s design capital, and partly because we were interested in investigating the technical and architectural properties of a skin or membrane to be perceived dynamically as façade not only on its four sides but also the roof- visible from the access road to the airport complex.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

The hotel itself is set on an existing base consisting of a huge car park over the railway that passes underground. The hotel has 436 rooms, a conference centre, a spa accessible directly from the airport via an existing connecting bridge over the surrounding ring road.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Membrane
We were looking for a seamless shell to fold around the functional volumes of the buildings. After researching and detailing a number of alternatives- titanium zinc sheeting, Corian and similar solid surfacing, sprayed polyurethane damp-proof membranes, and waterproof concrete-resin based finishes- we finally opted for pultruded fibreglass panels. Pultrusion is a manufacturing process combining extrusion and pulling fibreglass through a die that can provide panels up to 1400mm wide and almost infinite lengths- we needed lengths of up to 25 meters. Aside from the lengths of the panels, the material has a series of qualities highly suitable for building: it is light weight, elastic, very stable in extreme temperatures (-20°C to +50°C), fireproof and waterproof. Reduced costs and construction times coupled with the inherent qualities and finish of the material have proved to be decisive in achieving the desired result in this project. This material is more often used for industrial products and so an enormous experience of precision detailing to tight tolerances has been accumulated over the years which came in very useful in the detail design of the membrane.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

The shell is curved around a subframe of pultruded structural profiles and steel arches, wrapping the entire length of each bay, or module of the hotel in a smooth, continuous skin. The length of the hotel comprises seven bays separated by courtyards, with the curved façades facing the airport, and the rooms looking out on the courtyards. The almost flat roof, is treated as a façade to be seen from the airport, with openings onto terraces, light-wells or interior courts. The plant extracts and ventilation “breath” through vents twisted out of the roof membrane.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Guest Room Blocks
The layout of the rooms are organised around these courtyards which give a bar-code form to the plan and avoid a direct view from the airport into guest rooms. The western face of the hotel is left open to emphasis the horizontality of the volume with shallow water pools set into the lower level at the ends.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Grille
The car park is to be clad with a grille open for natural ventilation but opaque from the outside, to create a visually solid base the entire length of the building.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Façade
On the open (west) side these blocks of rooms articulate the façade in an irregular sequence of solid and void. The solids in turn are articulated by a series of thick sculptural PVC blackout curtains which give both depth and dynamic to the overall elevation. The folded shell alternates with the glass transparency of the enclosed volumes in which the reflective curtains mirror the external lighting conditions to produce a building that is constantly changing aspect. Though normally considered an item of interior design, the black-out curtains were seen as an integral part of the façade from an early stage. The regularity on the mullion and transom grid is syncopated by the irregularity of the curtains seen through the extra-clear glass.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Dynamic
The movement of people as they arrive and leave the airport, the tension created between solid and void, curved and straight line, the play of light reflected off and through the building, provide a variation of views and give a dynamic to the architecture that were looking for.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Escalator connection between ground and main floor lobbies
The escalator block was also considered as an element of the architectural volume rather than an aspect of interior design. The central portion of the whole building needed a visual and volumetric connection between the ground floor entrances, from/to the railway and the main car park to the west, and the main entry lobby from the airport 9,61m above. This is achieved by taking the lower edge (at +6,25m) of the shell enveloping the whole building and pulling a section of it down to the ground (at -3,30m) at though it were elastic. The volume created contains the escalator block. From the inside the escalators catapult the visitor to the first main level of the hotel opening into a full height void topped by large light-well. From the outside the volume strongly signals the western entrance to the building with connections to the railway below, the airport behind-on axis, and the hotel above.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Tensile Structures
Between each block of rooms the emergency staircases, also seen from the airport side through the transparent corridor links, will be clad in a tensile structure (to be built in the coming months). Stretching over the staircase and between the blocks, this essential component completing the design of the western façade with its sculptural organic form, bonds the parts together and gives a tension to the overall composition.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Building as large scale Product Design
The perception of the building, often seen as a whole despite its length, held together in a seamless shell reinforces the idea of it as a piece of product design on an urban scale.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Interiors
About half-way through the design of the building exteriors we were asked by Starwood (Sheraton) to design the main entrance spaces of the hotel. All other interiors (guest rooms, conference centre, restaurants) were designed by Saporiti Design Hotel.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Ground Floor Lobby (-3,36m)
The ground floor lobby main space is defined by a giant trellis false ceiling. A back-drop of bamboo canes behind a translucent film on both sides provide back-lighting to the Sheraton Link and sitting areas. The dark reflective floor in venetian terrazzo reflecting the ceiling and light walls is plied over the wood volume of the reception desk. Another example of surfaces, be they interior or exterior, folded to define a space.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

First Floor Lobby (+6,25m)
The space connects all three levels of the hotel via the escalator block down to the ground floor entrance and the false ceiling originating at the top floor level and serves as the conference centre reception.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Club Lounge (+14,25m)
The Club Lounge is situated on the upper level of the hotel with a spectacular view of Monte Rosa. The warm tones of wood and gold, purple and violet of the furnishing contrast of white and reflective surfaces of the exterior structure.

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Client: DEC
Area: 50.000 m2
Guest Rooms:436
Budget: 64m euro

Sheraton Milan Malpensa Hotel by King Roselli Architetti

Credits
design: King Roselli Architetti
project leader: Riccardo Roselli
project architect: Arianna Nobile
interior design: Daniele Del Prete
design team: Andrea Ricci, Mario Augusti, Katia Scarioni, Giandomenico Florio, Fabrizio Bonatti
landscape: Dana Vocino
consultant: Federica Pistola, Andrea Imbrenda
general contractor: DEC Spa Gruppo De Gennaro
fiberglass facade: P.C.R. Progettazione Costruzione Ricerca


See also:

.

Hilton Pattaya Hotel by
Department of Architecture
The Yas Hotel by
Asymptote
Rødovre Skyscraper by
MVRDV and ADEPT