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Domus Thalia
Domus Thalia
Milan, Italy
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Other Projects by Degli Esposti Architetti
Domus Thalia
Milan, Italy
Type
STATUS
Built
YEAR
2023
SIZE
10,000 sqft - 25,000 sqft
BUDGET
$1M - 5M
The intervention in question has been designed as a building replacement through the demolition of a one-story building for commercial use, situated between two dwelling houses, and the construction in its place of a new building for exclusively residential use. The new building consists of a ground floor with entrance lobby, 6 above-ground floors (each housing 2 or 3 residential units), a set back single unit penthouse, and a basement for garage use, on a lot at 46 Leone Tolstoi Street, between Lorenteggio and Vespri Siciliani streets, in Milan.
The project, called Domus Thalia, is part of our studio's research on modern Milanese syntax, with specific reference to the periods in which it was expressed in the 20th century - notably in the interwar period and during the post-WWII Reconstruction - up to today's reactivation by various authors, both in professional contexts and in theoretical-critical works.
Considering the project conditions (in-fill), the theme of the façade on the street is preponderant in the design of Domus Thalia, which – in conforming to the height of the crowning of the adjoining buildings – develops a customary and widespread type of façade, with the central part projecting from the front which is coplanar with the block’s perimeter wall. A direct precedent, also an in-fill project, is Giovanni Muzio's Casa Malugani in Piazza della Repubblica; other cases, not intercluded, are the nearby Casa Feltrinelli by Alberico and Ludovico Belgiojoso, a corner solution between Via Manin and Piazza della Repubblica, as well as Paolo Chiolini's double housing building in Piazza Tricolore, one at the corner on Viale Majno, the other on Viale Piave.
The ground floor (common spaces and entrances) is finished in sand-colored ceramic cladding. The above body is plastered in white color; the central part of the façade (projecting, from the second to the sixth floor) is articulated by a white frame proportioned in forced perspective, partly corresponding to the kitchens of the central units and partly hosting loggias for outdoor dining. The penthouse is set back from the façade line to provide space for a generous terrace and to host a glazed bow window, which is facing the terrace.
The overhanging part of the façade is further defined by a metal frame, matching the section of the balcony parapet handrails and aligned with their edge, slightly offset from the main frame and with modules proportioned in forced perspective too. This decorative element mediates the conclusion of the house toward the sky, amalgamating the central projecting part, the edge of the perimeter wall and the setback of the attic.
The openings (loggias, windows) are vertically oriented and decrease in width from north to south, also proportioned in forced perspective.
The use of frames is a recurring feature of the Modern in Milan, both in the geometry of a more substantial cross-section, as in Figini and Pollini's Via Broletto inner building or in their horizontal skyscraper on Via Harar, and in the version with slender metal profiles, as in Giancarlo Malchiodi's Via Anelli building, in the Latis' apartment building on Via Lanzone, and in Mozzoni and Ghidini's delicate diaphragms on Via Fatebenefratelli and Via Corridoni, especially in the latter case where they frame the sky.
The rear façade has a simpler design, with the central part again protruding (from ground to sky), housing the kitchens and loggias of the unit facing the courtyard. The balconies of the top three floors are caged in a single metal frame.
Vertical circulation is provided by a barycentrally located staircase. The street-facing units have double facades, with lateral sleeping areas facing both the street and courtyard, and central living areas facing only the street. The smaller courtyard units have articulated views due to the angular fenestration of the living area.
The project, called Domus Thalia, is part of our studio's research on modern Milanese syntax, with specific reference to the periods in which it was expressed in the 20th century - notably in the interwar period and during the post-WWII Reconstruction - up to today's reactivation by various authors, both in professional contexts and in theoretical-critical works.
Considering the project conditions (in-fill), the theme of the façade on the street is preponderant in the design of Domus Thalia, which – in conforming to the height of the crowning of the adjoining buildings – develops a customary and widespread type of façade, with the central part projecting from the front which is coplanar with the block’s perimeter wall. A direct precedent, also an in-fill project, is Giovanni Muzio's Casa Malugani in Piazza della Repubblica; other cases, not intercluded, are the nearby Casa Feltrinelli by Alberico and Ludovico Belgiojoso, a corner solution between Via Manin and Piazza della Repubblica, as well as Paolo Chiolini's double housing building in Piazza Tricolore, one at the corner on Viale Majno, the other on Viale Piave.
The ground floor (common spaces and entrances) is finished in sand-colored ceramic cladding. The above body is plastered in white color; the central part of the façade (projecting, from the second to the sixth floor) is articulated by a white frame proportioned in forced perspective, partly corresponding to the kitchens of the central units and partly hosting loggias for outdoor dining. The penthouse is set back from the façade line to provide space for a generous terrace and to host a glazed bow window, which is facing the terrace.
The overhanging part of the façade is further defined by a metal frame, matching the section of the balcony parapet handrails and aligned with their edge, slightly offset from the main frame and with modules proportioned in forced perspective too. This decorative element mediates the conclusion of the house toward the sky, amalgamating the central projecting part, the edge of the perimeter wall and the setback of the attic.
The openings (loggias, windows) are vertically oriented and decrease in width from north to south, also proportioned in forced perspective.
The use of frames is a recurring feature of the Modern in Milan, both in the geometry of a more substantial cross-section, as in Figini and Pollini's Via Broletto inner building or in their horizontal skyscraper on Via Harar, and in the version with slender metal profiles, as in Giancarlo Malchiodi's Via Anelli building, in the Latis' apartment building on Via Lanzone, and in Mozzoni and Ghidini's delicate diaphragms on Via Fatebenefratelli and Via Corridoni, especially in the latter case where they frame the sky.
The rear façade has a simpler design, with the central part again protruding (from ground to sky), housing the kitchens and loggias of the unit facing the courtyard. The balconies of the top three floors are caged in a single metal frame.
Vertical circulation is provided by a barycentrally located staircase. The street-facing units have double facades, with lateral sleeping areas facing both the street and courtyard, and central living areas facing only the street. The smaller courtyard units have articulated views due to the angular fenestration of the living area.
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