COMPOSITION BOOK

LA RINASCENTE
FRANCO ALBINI AND FRANCA HELG
ALI AL HADI JAAFAR
MARIA CAMILA RODRIGUEZ RUIZ
MARIA PAULA VILLA CABRERA
LEONARDO VESPRINI

ARCHITECTURAL DESIGN STUDIO

A.Y. 19/20

SECTION A
LUIGI SPINELLI
FEDERICO BUCCI
POLO TERRITORIALE DI MANTOVA
 La Rinascente - Franco Albini
Composition Book

content

typology 4

context 10

architectural language 12

composition and organization 16

sequence of space 22

structure 26

technology and materials 30

intro

The compositional analysis develops around the concept of "abstraction of the past".
It has been evident, in fact, how the five buildings in the studio are in direct relation
with Roman architectural history and its most splendid periods.
These buildings, designed by different architects, succeed while showing modern
forms related to their times, succeed, through a careful and masterly reworking of the
typical architectural elements of ancient structures, to create a tangible link with the
past.

The analysis that has been carried out on the different buildings, tries to relate the
main characteristics, found on the study buildings, with the formal and architectural
solutions of pre-existing buildings in the Roman city and referable to the different hi-
storical and artistic periods.
This interesting procedural approach makes it possible to compare the apparent-
ly distant realities of the different architectural apparatus and relate their aesthetic,
structural and functional characteristics, highlighting the intrinsic and resonant link
between past and present realities in their most intimate aspects.
The focus is therefore to study the context, spatial composition, language and se-
quence of spaces that distinguish the various buildings.

Through the study of the elements that make up the building, therefore, we come to
the identification of the relationships that unite the modern with the past and the ab-
stract process used by the architect towards history.
typology
The department store was born in Europe
in the second half of the 19th century.
In Paris, between 1852 and 1893, “Le Bon
Marchè”, “Au Printemps” and “Aux Galle-
ries Lafayette” were opened to the public;
these buildings, with their shops, will be-
come one of the symbols of society at the
turn of the century, as well as new urban
entities that are taking root in the urban fa-
bric of the city.
From the Parisian success, the con-
struction of buildings of similar character
and with the same function began in every
European capital: these large multi-storey
buildings, often as large as an entire block,
merged with their different activities related
to commerce and entertainment.

Aux Galeries Lafayette, designed

by Théophile Bader and Alphonse
Kahn, built in 1912 in Buoulevard
Haussmann

Au Printemps department storesde-

signed by Paul Sedille in 1864

La Rinascente in piazza Chigi, desi-

gned by Giulio de Angleis between
1886 and 1889.

Kaufhaus des Westens in Berlin, de-

signed by Emil Schaudt in 1905.

Department store De Bijenkorf in

Rotterdam, designed by Willem
Marinus Dudok between 1928 and
1930.

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La Rinascente - Franco Albini
Composition Book

Au Printemps department storesdesi-

gned by Paul Sedille in 1864, facade
and floorplan.

Kaufhaus des Westens in Berlin, desi-

gned by Emil Schaudt in 1905, facade
and floor plan (left) origilan, (right) after
the restoration in 1930.

It is clear how, in both constructions,

the building body rotates around the
distribution corridor that connects the
various spaces.

5
 Department store De Bijenkorf in
Rotterdam, designed by Willem
Marinus Dudok between 1928 and
1930, generl view and floorplans.

New Building designed by Marcel

Breuer in 1956.

Departments for the sale of clothing, jewel-

ry, cosmetics, household products and
furniture were for the first time accessible
and available within a single building and
often there were also cafes and restau-
rants: everything necessary to entice cu-
stomers to enter and extend their stay as
much as possible.

Even in Italy we are witnessing the con-

struction of these buildings. In 1877, the
Bocconi brothers expanded the family bu-
siness and transformed the Confortable
hotel in Milan, into the “Alle Città d ‘Italia”
department store and the same family in
Rome, in 1886 he created a further shop
on Largo Chigi. The stylistic change promoted by

From this moment on, also in Italy we are
witnessing the expansion of these new bu-
ildings in the main cities.
Although different in name and place of
construction, each of these buildings must
respond to an anonymous and conventio-
nal functional program: the goal is to en-
Moretti is manifested in an extreme
purity of the forms used and an al-
most total absence of decorations.
The buildings are made up of sim-
ple volumes with studied openings
that can not only give the right in-
ternal lighting but also define the
internal space.

6
 La Rinascente - Franco Albini
Composition Book

Aux Galeries Lafayette, central hall.

Kaufhaus des Westens in Berlin,

central hall.

Department store De Bijenkorf in

Rotterdam, corridor.

tice the visitor to enter, intrigue, bewitch

and sell, the space therefore must respond
to these needs. Large spaces without
structural elements, flexibility, transparency
and indirect or artificial lighting thus beco-
me the standard canons for this new buil-
ding typology.
Characterized by a free and flexible plan,
impoverished as much as possible by
point-like structural elements, the new
multi-storey buildings develop following
more or less the usual distribution canons:
large access tunnels that often flow into
full-height atria covered by glass dome,
able to bring natural light and ventilation
into the buildings, and large stairways pla-
ced in conjunction with the junction points,
able to directly connect the various floors
but forcing the visitor to walk along “privile-
ged” paths through the goods on display.
Each element of the department store is
therefore studied and designed to encou-
rage and increase the sales of products (of
any kind).

7
 Department store “Alle Città d’Italia”
in Milan.

New building in piazza Duomo, de-

signed by Giovanni Giachi in 1889.

Details of the interior.

New Building, after the bombing,

designed by Ferdinando Reggiori in
1950.

8
La Rinascente - Franco Albini
Composition Book

The Trastevere building became a

sort of manual built in the context
of the construction of the Case Ba-
lilla.

La Rinascente in piazza Chigi, desi-

gned by Giulio de Angleis between
1886 and 1889.

New proposal for the store in piazza

Chigi, designed by Ignazio Gardella
in 1958.

La Rinascente in Piazza Fiume, desi-

gned by Franco Albini.

Comparison between the facade of

the Renaissance in Piazza Chigi and
the new building in Piazza Fiume.

9
context
Analysis of the context and highli- Comparison between the urban si-
ghting the layout of the Aurelian tuation of the La Rinascente and the
walls. roman district of “spina di borgo”: (a)
Being in the condition of having to build
actual street layout, (b) “spina di bor-
a second department store in the city of
go” street layout, (c) building block
Rome to support the historical center in layout and (d) “spina di borgo buil-
the Borletti family, owners of the group “La ding block layout.
Rinascente, choose a free lot just outside
the Aurelian walls in Piazza Fiume, at the
crossroads between via Salaria and via
Aniene.
The chosen site is placed in a perfect per-
spective of promotion and increase in sa-
les: although on the edge of the historic
city it is located at the beginning of the ni-
neteenth and twentieth century expansion
districts, in addition, via Salaria (ancient a b
Roman consular road) connects the bour-
geois districts and high-places in Trieste
and Parioli. The building then conforms to
a first example of commercial decentrali-
zation and a new sales area outside the
crowded and chaotic historical center of
Rome.
The choice of this particular strategic lot,
however, brings with it the demanding
task of creating a building capable of de-
aling not only with the mixed urban fabric
of the city expansions often characterized c d
by an eclectic style, such as the building
on the other side of via Salaria with which
the department store acts as a counterpart
and with which they form the bridgehead,
identifying the beginning of via Salaria and
the Conjunction with corso d’Italia and via
Veneto; but also with the historical and
monumental remains of the Aurelian walls
built in the third century AD. which run bri-
bes in Corso d’Italia and identify the border
between historical and contemporary.

10
a b

(a) Identification of the building in

today’s urban context. (b) Identifi-
cation of buildings of considerable
importance within the urban fabric
and comparable with Baroque and
Renaissance buildings. (c) Typologi-
cal replacement of modern buildings
with those of the Baroque and Re-
naissance periods.

The historical pre-existences and modern

interventions were therefore analyzed to
understand how, given the subsequent
stratifications and architectural languages​​
present in the area, the new Albini building
can be seen as an element of continuity
between history and modernity, establi-
shing relationships between contemporary
and old.
c Starting from the identification of the Aure-
lian walls as an element of temporal conti-
nuity. We have identified buildings of parti-
cular interest, “changeable” over time, and
replaceable with buildings from another
era comparable by typology or size. The
spaces occupied by “modern” buildings
are freed and again occupied by the ar-
chitectural examples of Baroque and Ro-
man Renaissance buildings. l plans of the
comparison buildings and the ground floor
plan of the department store, it is possi-
ble to identify similar spatial composition
schemes. Even analyzing the urban fabric
one realizes how the historical variation of
some key elements does not result in the
loss of value of the new building. The work
done by Albini, in fact, leads to the crea-
tion of an extremely modern building that
is able to stand up to the comparison with
Roman historicity.
architectural
language

At their birth, in the second half of the 19th identification of the composition dif-
ferences between the elevation of
century, the department stores were cha-
the La Rinascente in Piazza Chigi,
racterized by an eclectic style that harmo-
KaDeWe, La Rinascente in Milan
nized these great complexes with the sur-
and Department store De Bijenkorf.
rounding city.
In fact, they observe the Parisian interven-
tions or even the first Italian examples, it
is easy to realize how the language used
in the construction of these buildings is a
clear transposition of that used in the most
common housing construction: imposing
decorated facades often characterized by
large openings, necessary for illuminate
and aerate the wide floors of the building,
loggias on the ground floor and often ele-
ments such as turrets or spiers that break
the monotony of the large facades and go
to identify the main entrances or aim to be-
come urban references for the user looking
for the shop.
In addition, the internal needs of flexibility,
lighting and ventilation lead architects to
use solutions from the world of railway sta-
tions and exhibition pavilions through the
use of large iron roofs, glass domes and
large multi-storey atria.
If the needs of ventilation and lighting cha-
racterize the first European department
stores, with the passage of time and the

12
 La Rinascente - Franco Albini
Composition Book

ever increasing need for display space

and the rapid progress of ventilation and
natural lighting systems, subsequent con-
structions begin to gradually decrease the
holes present on the facades: this also in-
volves a significant change of language,
the department store is no longer a rein-
terpretation of residential buildings, but be-
gins to possess the specific and well-defi-
ned features that we still find today.
The progressive loss of punctures on the
facades leads to the construction of “mo-
nolithic” buildings, almost of commercial
factories, and especially in the post-war
period this linguistic aspect was strongly
accentuated. The new buildings often ap-
pear as huge prismatic volumes without
holes on which bright signs and windows
decorated on the ground floors stand out,
and a progressive loss of contextual re-
lationships between the building and the
surrounding city.

Composition scheme of the holes in

the three main volumes of the buil-
ding.
Note that there is no general rule,
but each block is illuminated and
ventilated by specific elements.

13
 Just from this point of view it is to analyze
the project that albini realizes for La Rina-
scente. It can in fact be considered one of
the best examples of the insertion of a mo-
dern building within the historical fabric of
the city of Rome.
The architect’s extraordinary sensitivity and
ability succeeded, by analyzing the sur-
rounding context and the various problems
related to the design of a seemingly simple
but extremely complex from a structural
and functional point of view, to design a
department store using modern langua-
ge and solving problems formal typical of
traditional (historical) Roman architecture,
such as the theme of the strong chiaroscu-
ro of the walls and the plastic articulation of
the facades derived from the Renaissance
and Baroque past of the city.
La Rinascente, designed by Albini, can be
considered the controlled and reinterpreta-
tion of a Roman Renaissance palace; the
result of the overlapping of the floors, the
clean and monumental cornice, the sophi-
sticated façade solution that breaks the
monotony of the load-bearing structure
and brings plasticity and movement almost
as if it were a “modern” Farnese palace.

Details of the elevations towards

Piazza Fiume and Via Aniene.

14
La Rinascente - Franco Albini
Composition Book

While the facades on Piazza Fiume

and via Salaria have a similar lingui-
stic composition, characterized by
a regular vertical scan, due to the
steel pillars and the undulations of
the infill panels, and an equally re-
gular horizontal scan of the string
courses; the secondary elevations
are instead characterized by diffe-
rent formal solutions.

While towards the courtyard, the

facade is fragmented and open
thanks to the use of large curtain
wall portions, the prospect towards
Via Aniene is closed and modula-
ted by different heights, recesses
and different curtain panels.

If the main elevations try to re-

call continuity and monumentality
along the route of via salaria and
on the square, the lateral elevations
instead symbolize the architectural
fragmentation that can be found in
any Roman street.

Facade composition schemes: iden-

tification of the load-bearing structu-
re, of the infill panels and of the string
courses.

15
composition
and organization
Analyzing the volumetric composition of
the building, we realize how Albini, given
the irregularity of the lot and the functio-
nal needs related to the unloading and lo-
ading of goods, plans to build a building
that settles on the northeast corner of the
project lot It consists of a main volume in-
tended to house the sales area and offices
and a secondary “sleeve” placed transver-
sely which houses the service rooms and a
forepart attached to the main volume whi-
ch houses the vertical connections.
The remaining area of ​​the lot is therefore
left free and destined for goods procure-
ment operations.

After a first project rejected by the client,

Albini deepens the study and analysis of
the problems due to the construction of a
department store in such a particular area
of ​​the city.
The definitive solution differs clearly from
the first project, not so much for the
structural decisions or the internal spatial
composition, but for the way in which it re-
lates to the context and the linguistic choi- (left to right) Templietto of San Pietro

ces that characterize it. in Montorio (1505), Villa Farnesina

The new building, six floors plus attic, goes
hand in hand with the turn-of-the-century
building located on the other side of Via
salaria. The street becomes almost a mir-
ror between old and new.
The building designed by Albini is a stron-
(1505), Basilica of San Pietro (1506),
Farnese palace (1514), Palace of Ja-
copo from Brescia (1515), Alberini
palace (1515), Palazzo Doria-Pam-
phili (1600), Campidoglio (1536),
Villa Capra (1566),Villa Borghese
(1606), La Rinascente (1961).

16
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Composition Book

17

gly Roman construction, characterized by
important chiaroscuro and plasticity of the
facades worthy of the city’s baroque past.
Compared to the first solution proposed,
in a new building it is characterized by a
different hierarchy between the two main
facades (towards Via Salaria and Piazza
Fiume), in fact the two facades are unified
by the same type of curtain panels. And
from a similar distance between the upri-
ghts of the structural mesh.
Albini also intensifies the theme of dark li-
ght through the accentuation of the string
courses and the corrugation of the perime-
ter infill panels.
By analyzing in depth the architectural so-
lutions used by Albini we can make paral-
lels between La Rinascente and historic
buildings in the city.
18
Volumetric mirror of the building in
the opposit side of the street.
The element of the string courses, for
example, made through the protrusion
of the supporting structure of the various
floors, is a recurring element both in the
Renaissance and Baroque buildings in the
city, and in the various eclectic buildin-
gs that are located near the building (for
example example the opposite across the
street from Via Salaria).
The element of the crowning cornice also
recalls Roman buildings such as Palazzo
Farnese, from which it inherits not only the
monumentality of the protrusion but also
the overall chiaroscuro effect that is crea-
ted on the facade.
As well as the rhythm defined by the steel Composition scheme, note how the
secondary volumes join the main
uprights and the corrugation of the infills,
block.
it can be compared to the plastic game,
the columns and the moldings present in Volumetric breakdown of the buil-
many baroque buildings, such as the chur- ding.
La Rinascente - Franco Albini
Composition Book

Comparison between the composi-

tion of string courses and cornice of
Palazzo Farnese and the architectu-
ral composition of the facade of La
Rinascente.

Detail of the structure.

19
 Comparison between the rou-
te layout of La Rinascente and a
hypothetical Renaissance palace.

The use of the helical staircase can

be seen in continuity with the various
Renaissance and Baroque exam-
ples, such as the one present in Pa-
lazzo Barberini.

20
 La Rinascente - Franco Albini
Composition Book

ch of San Carlo alle Quattro Fontane. comparison between the columns

on the facade of San Carlo alle Quat-
tro Fontane and the steel pillars of
Even some internal solutions are very re-
the facade of La Rinascente.
miniscent of formal expedients used in
Roman Renaissance architecture: the el-
Detail of the structure.
liptical staircase located in the north-east
corner, clearly recalls the staircase in Pa-
lazzo Barberini, while the mandatory route
through the building to reach the the block
of vertical connections recalls the succes-
sion of spaces that the visitor of the an-
cient palaces had to overcome in order to
reach the halls of honor, often placed near
the internal courtyards of the buildings.

21
sequence
of space
The building typology of the department
store brings with it a series of spatial ne-
eds and internal relationships between the
various elements of the planimetric com-
position: exhibition areas, specialized de-
partments, vertical connections, entran-
ces, services and distribution elements
must be perfectly designed and organized
in order to obtain maximum display power
and consequently maximize sales.
Furthermore, the interior space must be
flexible and easily modifiable to allow re-
curring rearrangements and to display the
most diverse types of goods.
Analyzing these needs, Albini chooses to
use a totally free floor plan, characterized
by the total absence of entrance spaces
22
that can lead to a loss of display or sales
surface: the user is just crossed the thre-
shold immediately inside the department
store.
The internal space is therefore characteri-
zed by complete spatial flexibility, defined
season by season by different arrange-
ments.
By observing the floor plans, it can be
seen that all the spaces intended for sale
are arranged in the main volume while the
secondary sleeve hosts only warehouses
Interior zoning.
and service rooms.
The path between the various floors is
identification of internal paths: ver-
almost obligatory and involves passing
tical and horizontal connections
through the various departments on each between the various spaces.
floor to finally reach the escalators, placed
towards the courtyard or the elevators and Details of vertical connections.
La Rinascente - Franco Albini
Composition Book

23
the elliptical staircase located in the corner.
These connecting elements are highlighted
also by the presence of the only glazed
elements designed by Albini.

In order to maximize the internal exhibition

surface, in fact, following the most com-
mon department store design standards,
the architect opts for an airtight and total-
ly hole-free volume, if not in three specific
points: on the prospect towards Piazza
Fiume, in the north-east corner and volu-
me of escalators.
These transparent elements are the only
elements that allow visual relationships
between inside and outside and vice versa.
Albini therefore decides to open the en-
velope only towards certain dynamic ele-
ments: the glass wall that gives light to
the escalators allows you to observe the
coming and going of the users inside the
building, while the angular window placed

Internal distribution scheme: identifi-

cation of routes through the various
departments. Straight paths (se-
mi-underground level), radius paths
(second floor) and circular paths
(third floor).

Indoor photo.

24
on the stairwell allows, from the inside, to
observe the flow of traffic and pedestrians
along via Salaria.
The only glazed element that does not
allow a direct view from the inside to the
outside and vice versa is represented by
the six holes placed on the facade towards
Piazza Fiume, in this case Albini thinks
more of the openings than of the windows:
exhibition spaces capable of attracting the
attention of the passerby without particular
internal-external relations at stake.
The necessary lighting and ventilation of
the internal rooms is therefore totally en-
trusted to the mechanical systems present
in the attic.

Details of the interior.

structure
The building is supported by a mixed
structure in reinforced concrete and steel,
developed together with the engineer Gino
Covre, a leading figure in the Italian archi-
tectural panorama of the time, and they re-
present the simple structural scheme and
the effectiveness of the solutions, one of
the best examples of use of the steel frame
structure of the time.
The choice of the mixed structure is also
due to the particularity of the soil, which
is not resistant enough to accommodate
a completely concrete structure: the use
26
of steel in fact allows a lower structural breakdown of the structure into the
weight on the foundations and therefore a various elements: pillars, beams and
floors.
lower load distributed on the ground.
 
Construction site photo.
The two lower floors of the basement have
a bearing structure in reinforced concrete,
just as the foundations and the soil con-
tainment works are made of the same
material, these are located away from the
internal perimeter of the building and crea-
te an empty cavity avoiding direct contact
between the internal walls and the sur-
rounding soil which could lead to the for-
Transversal section.
Floorplans: undergorund floor and
first floor.
mation of humidity and mold.
The first basement floor and the remaining
structure is instead made of steel. While
the first solution involved the use of por-
tals spaced three meters apart, the defi-
nitive solution opts for a simpler solution:
the new mesh of pillars, with a larger cen-
ter distance, consists of a double span;
while the perimeter uprights are of the HE
type, the four internal pillars have a tubular
section and are filled with concrete, this al-
lows Albini and Covre to minimize the use
of bracing and provide the right transverse
rigidity to the structure.
The floors, also made of steel, are suppor-
ted by two beams placed side by side in a
 C-section arranged back to back; the free
space between the two beams is used for
the passage of pipes and systems.
The load-bearing structure of the stairs and
lifts also anchored to the steel load-bea-
ring structure without the use of concrete
or central core structural elements.

Albini’s particular choice to bring the

structure outside and make it participate
actively in the architectural composition
therefore also leads to the development of
particular linguistic solutions.

Composition scheme of the facade

panels.

Project drawing: breakdown of the

architectural elements.

28
 La Rinascente - Franco Albini
Composition Book

Particularly interesting is the solution deve-

loped at the intersection between the war-
ping of the main beams and the columns:
a kind of capital is created through the use
of steel elements that go to provide the ri-
ght support for the pair of beams on the si-
des of the pillar. While the secondary war-
ping, carried outside the building, forms
triglyphs that decorate the facade as in a
classical temple or a Renaissance cornice.

Building details.

Structural sketch.

29
technology
and materials
As already widely reiterated, the building
designed by Albini manages to establi-
sh relationships with the Roman context
through the use of compositional schemes
and languages ​​typical of the capital and
through a careful reinterpretation of these
schemes in a clearly modern key.
The choice of finishing materials imple-
mented by Albini and Helg also actively
participates in the game of ancient-new
references.
The definitive design hypothesis, differing
greatly from the initial one, in fact involves
the use of particularly prefabricated panels
for the filling of the gaps between the steel
30
The panels, made of Sferogranito,
a composite material produced
through the use of a cementitious
paste and the scraps of granite
processing, have been made not
a only as infill elements but as real te-
chnological elements: the surface
ripples are not simple aesthetic ha-
bits but they house the ducts and
air conditioning systems.
structure.
These panels, although born from the
most modern technologies, through the
use of colors and ripples, want to evoke
the red of the bricks of historic Rome and
the plasticity of the Baroque and Renais-
sance surfaces.
Detail of the infill panels in composite
By observing the main facades from afar,
material.
in fact, one can realize how the number of
c
ripples increases with the growth of the flo-
ors and therefore with the proximity of the Different uses of materials on the
facade of the building: (a) glazed ele-
ventilation machines placed in the attic.
ments corresponding to the display
The chromatic choice of red for the panels
windows, (b) infill panels in compo-
wants to create a direct link with the walls
site material and (c) steel structure
of Rome, while the thin beige strip try to painted in matt black.
 La Rinascente - Franco Albini
Composition Book

bring to mind the sill brand lines.

The load-bearing structure, painted in matt
black, also participates in the game of an-
cient-new transposition. Just like classic
columns, the pillars fragment the facade
while the infill panels denote its plasticity
and continuity.

The same materials and the same colors

are also used inside, as for example in the
staircase body: the load-bearing structure,
in fact, painted in black engages with the
general structure of the building while the
steps in red composite material make the
pair with external infill panels.

The forced ventilation ducts are in-

serted inside the corrugations of the
curtain panels, note how the ducts
decrease going down to the lower
floors.

Detail of the elevation on via

Salaria.

31
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