© Alessandra Chemollo

3.Alessandra Chemollo

架构师提供的文本描述。米兰是最能代表意大利国际形象的城市，可以与伦敦、法兰克福、巴黎相提并论。与许多历史悠久的意大利城市不同，米兰更多地与19世纪和20世纪的发展联系在一起，更准确地说是工业革命之后的发展。

Text description provided by the architects. Milan is the city that best represents the international face of Italy, comparable to London, Frankfurt, Paris. Unlike many historical Italian cities, Milan is more related to its development in the nineteenth and twentieth century, to be more precise after the industrial revolution.

 Ground Floor Plan

从这个意义上说，米兰的设计与意大利更现代的面貌相比，意大利由工厂、地铁、混凝土和钢铁组成，而不是那么特殊的历史存在。见证这一事实的是，未来主义运动主要在米兰发展，这一运动是为了回应当代城市的问题而创立的。这不是一个特别重要的关系，与现有的大型杰作，而是对当代城市主题的反思。

In this sense, design in Milan is compared with the more contemporary face of Italy, made up of factories, subways, concrete and steel and not so much of particular historical presences. Witness is the fact that the Futurist movement has developed mainly in Milan, a movement created to respond to the issues of the contemporary city. It was not a particularly important relationship with the large existing masterpieces, but rather a reflection on the themes of the contemporary city.

 © Alessandra Chemollo

3.Alessandra Chemollo

为了开发这个项目，我们立即认为依赖一个建筑师来设计整个建筑群并不有趣，而是开始对话。由于这个地区的面积，我们决定通过许多建筑师来重新解释城市的复杂性，他们带来了不同形状和材料的建筑的概念。

To develop the project, we immediately thought it was not interesting to rely on a single architect for the design of the whole complex, but to start a dialogue. Due to the size of the area we decided to aspire to re-interpret the complexity of the city through many architects who brought the idea of buildings with different shapes and materials.

 © Alessandra Chemollo

3.Alessandra Chemollo

在米兰的任何一条街道上，都有来自不同时期和不同建筑特色的建筑。从这属于一个城市的生活，在动态张力之间的后期作品在一个群岛的图像和颜色。这是我们的雄心壮志，选择在一个团队中工作。

In any street in Milan there are buildings from different periods and with different architectural features. From this belongs the life of a city, in the dynamic tension between the works of later periods in an archipelago of images and colors. This was our ambition, choosing to work in a group.

 © Alessandra Chemollo

3.Alessandra Chemollo

在我们的群岛形式中，我们发现了一个有趣的想法：​​-一座无限制的摩天大楼，一种无穷无尽的塔。现在我们发现世界各地都有任何形状和装饰的摩天大楼。从这项研究开始，我们寻找一个吸引人的概念来应用于高层建筑，而不是仅仅研究一种审美的形状。

In our archipelago forms, we found interesting to develop the idea of ​​a skyscraper without a limit, a kind of endless tower. Now we find skyscrapers of any shape and decoration in all parts of the world. Starting from this study, we looked to a fascinating concept to be applied to high-rise buildings, instead of studying only a shape of an aesthetic beauty.

 Cross Section

在对天空的最大垂直度和张力的渴望中，选择一个完整的形状并在一定的高度上结束是一个限制，我们更倾向于应用模块系统的概念，它可以无限地在任何限制的情况下重复。

In the aspiration of maximum verticality and tension towards the sky, it was a limit to choose a complete shape and concluded at a certain height and we preferred to apply the concept of a modular system that can be repeated in an infinite way with any limit.

 © Alessandra Chemollo

3.Alessandra Chemollo

我们确定的模块由6层办公楼组成，长24x61.5m。这些比例的选择最终使整个音量变薄，以强调垂直性，并使其在结构上具有挑衅性，因为它的细长形状如此之高。

The module we decided is composed by 6 office floors with a long thin plan of 24x61.5m. The choice of these proportions is finalised  to make the whole volume thinner to emphasize the verticality and makes it structurally provocative, due to the slender shape so high.

 Typical Floor Plan

该模块的正面由一个三重玻璃单元组成，向外稍微弯曲。圆形形状的垂直继承创造了一种轻微的振动的感觉，建筑的体积，因为它上升。短边的高度是全玻璃化的，并显示机械系列的全景电梯上和下到建筑物的各个楼层。

The facade of the module is composed by a triple glass unit slightly curved to outside. The vertical succession of rounded forms create a feeling of slight vibration of the volume of the building as it rises upward. Elevations of the short sides are fully glazed and show the mechanical series of panoramic lifts going up and down to the various floors of the building.

 © Alessandra Chemollo

3.Alessandra Chemollo

​​永无止境塔的想法可以与其他艺术家的野心相比较，比如康斯坦丁·布兰库西(Constantin Brancusi)，1937-38年，他在公园里安装了他的无休止的塔尔古-久(Targu-JIU)专栏，无限期地创建可重复的系统当被问及这个想法的原因时，布兰库西回答说：“我们需要支撑天穹。”

The idea of ​​endless tower can be compared to previous ambitions of other artists as Constantin Brancusi, for example, who in 1937-38 installed one of his endless column of Targu-Jiu in the park to create repeatable systems indefinitely. When asked about the reasons for this idea, Brancusi replied: "We need to support the vault of heaven."

 © Alessandra Chemollo

3.Alessandra Chemollo

 © Alessandra Chemollo

3.Alessandra Chemollo

Architects Andrea Maffei, Arata Isozaki

Location Milan, Italy

Category Office Buildings

Client Citylife S.p.A. / Armando Borghi, Marco Beccati - project director, Roberta Pasinetti - technical director, Roberto Russo, Andrea Zerbini, Gianni Armas, Martino Negri,

Area 81615.0 m2

Project Year 2015

Photographs Alessandra Chemollo

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