This project attempts to reconstruct the relationship between Naviglio Grande and its surrounding diverse elements in the evolution of urban Milan, shaping a spatial sequence that emphasizes “past, present, future”. Based on the research background, the cross-sectional sequence of the public space perpendicular to Naviglio grande was redefined. Piazza Tirana, which represents the spirit of the contemporary Milanese city, will be lightly intervened, emphasizing the connection to the texture of the urban fabric and giving the sequence a directionality. The design of the bridge is not only the physical connection between the rails and the canal but also the reproduction of the “conche accolate” memory. The “past” links the present and future and gives more possibilities for integration between diverse elements. The main body of the museum that represents the “future” has been proposed by us as an open relationship between architecture and landscape. The main language of the slash is the contemporary continuation and interpretation of the texture of the old city, emphasizing the centripetal relationship in the axial direction. Local elements such as water and plants are reproduced again. From Piazza Tirana to the new main museum it can consider a holistic museum system.
本项目试图在米兰城市的演变过程中重构纳维利奥格兰德与周边多元元素之间的关系，塑造一个强调“过去、现在、未来”的空间序列。基于研究背景，重新定义了垂直于naviglio grande的公共空间的横截面序列。代表当代米兰城市精神的地拉那广场将被轻轻介入，强调与城市肌理肌理的联系，并赋予序列方向性。桥梁的设计不仅是铁轨与运河的物理连接，更是“海螺酒”记忆的再现。 “过去”链接现在和未来，为不同元素之间的融合提供了更多可能性。代表“未来”的博物馆主体被我们提出为建筑与景观之间的开放关系。斜线的主要语言是对旧城肌理的当代延续和诠释，强调轴向的向心关系。水和植物等当地元素再次再现。从Piazza Tirana广场到新的主要博物馆，它可以被视为一个整体的博物馆系统。
The Naviglio Grande project aims to reconstruct the relationship between the Naviglio Grande and its surrounding spatial elements in the urban evolution of Milan, so as to form a spatial sequence that emphasizes “past, present, future”.
From the plaza to the museum, from the river to the bridge, the project continues and interprets the texture of the old city in a modern way.
△ The canal’s history and status quo
△ A new spatial sequence is created according to the boundary and threshold of the city
Piazza Tirana, which represents the spirit of the contemporary Milanese city, will be lightly intervened, emphasizing the connection to the texture of the urban fabric and giving the sequence a directionality. The design of the bridge is not only the physical connection between the rails and the canal but also the reproduction of the naviglio infrastructure memory. The “past” links the present and future and gives more possibilities for integration between diverse elements. The main body of the museum that represents the “future” has been proposed by us as an open relationship between architecture and landscape. The main language of the slash is the contemporary continuation and interpretation of the texture of the old city, emphasizing the centripetal relationship in the axial direction. Local elements such as water and plants are reproduced again. From Piazza Tirana to the new main museum it can consider a holistic museum system article.
△Organization of Spatial Relationships
Story Telling
I am impressed by professor Guya (dean of the School of Urban Design, Politecnico DE Milan), who has studied the spirit of canal persistence into old age since he was young. We created a story about the canal Museum, where an old man walks back along the line of our design from the bridge of the Grand Canal, getting younger and younger, and finally sees a young portrait of himself in the museum, with no eyes. On one level, we pay tribute to professor Guya’s lifelong study of urban morphology, and on the other level, this man without eyes expresses Modigliani, an Italian artist who lived in poverty all his life and died on his way home as a young man before people recognized his value after his death. His only painting with eyes depicts his wife when I know your soul I will draw your eyes.
△ Space Narrative
Montage
Start with an abstract operation, strip away useless things, aim at key landscape and environmental characteristics, and reshape the space relationship of the Grand Canal design. Return architecture to reality and reality cannot be revealed through a simple montage, it can only be presented through a montage guided by a lens that records those measurements of the earth. Through the montage lens, we will create a new spatial and historical order by using the texture of the buildings around the canal, history, artificial landscape, natural landscape, time memory, and the film used as the connection lens.
△ Relationship
△ Boundary and Connection
The museum building is like an urban camera that captures the scenes of the museum and the water through the reconstruction of the physical space of the building and uses this landscape as part of the museum elements.
△ Urban Camera
△ Past, Present, and Future
Action
Architecture and landscape construction is linked to real life, the latter being depicted in the background, creating a “slightly warm” landscape. The newly involved architectural space is more like a picture frame depicting the architectural background, creating an order on the two axes of the Grand Canal. An axis connects the people on both sides of the Grand Canal, and an oblique axis intervenes in people’s living spaces. Through the drawings, we can see the texture relationship between the building and the sky and the ground and the Grand Canal and the water.
△ Action Space