Reducing land consumption

Prada Group’s manufacturing plants and warehouses extend for over 192,000 m2, 175,000 m2  of which are in Italy. There are 4 new buildings, 3 recovered industrial archaeology areas and several cases of reuse of degraded sites abandoned for many years. Among these, 4 of the most important projects in the industrial area were assigned to architect Guido Canali, Italian master in sustainable architecture.

Church’s new Headquarters

A former tram depot in Northampton, UK

In 2014, Church’s purchased the iconic property in Northampton that had been the headquarters of the city’s public transport company for 109 years. Built in 1904, the former bus and tram depot is a huge, red brick industrial structure with trussed roofing overlooking St. James Road, a stone’s throw from Church’s former premises.

When the restoration has been completed, the building will house a production workshop where the traditional British handmade shoes will be assembled.

Another example of careful restoration of historical buildings with high emotional value for the local community, preserved to give a formal continuity to different intended uses while safeguarding the architectural and urban identity of the places in which they were built.

Municipal Transport Operations, the company that owns the property, was about to make a sale to a shopping mall when Church’s, together with the Northampton municipality, intervened to save an essential piece of local history, of which the citizenry is fond, and also to increase its production capacity, investing on an icon of British industrial history.

The complex is composed of an original solid-brickwork structure with a light iron truss cladding and a skylight on top. A typical design for factories of the early 20th century, whose façades recalled the front of cathedrals, concealing the huge spaces behind them.

Near the factory is an early 20th century-style office building.
Over the years, the old structure was enriched with some less prestigious buildings designed exclusively to meet functional needs and adjust small inconsistencies.
In 2015, a new restoration project will begin, aimed at preserving the oldest part of the building and reconstructing the original façades, whose arcade was subjected to some poor cladding work in more recent times, and improving the most recent parts to harmonize the entire complex, including some partial demolitions.

A preliminary environmental improvement will be carried out on the entire site that will involve the removal of hydrocarbon storage tanks and soil treatment.

© Paolo Barbi

A building site in the Galleria

© Alessandro Ciampi

Combining the need for historical and artistic preservation and protection with an increase in seismic resistance and, last but not least, a safe building site, is the challenge of every restoration work in a special historical context.

In the restoration project that the Prada Group carried out on a substantial part of Galleria Vittorio Emanuele II in Milan, the challenge consisted of a few essential activities:

• Drafting a geometric, material and historical investigation plan;
• Conducting experiments during the design and building phases;
• Sustainability and reversibility of the work;
• Industrialization of the building process.

 

The project development phase was not based on a “closed approach”: the logic behind the building site, the reality of every connection and detail and the existing structure made the building phase a means to validate every project option.

The use of steel and wood enhanced the concept of the structural project of a “drywall construction”, giving the term “reversibility” an authentic meaning.

The final technical and scientific evaluation of the restoration consisted in a complete graphic and photographic documentation of the work in its various stages, provided by the Prada Group to the competent authorities.

In a building with the last three levels consisting of a reinforced concrete framework over the original eighteenth-century structure of brickwork and metal-studded beams, added following the bombing during the second world war, the seismic resistance of the entire structure was significantly improved and the work was carried out in compliance with the new standards imposed by the intended use of the building as a museum. The project had a scientific design approach and required direct interaction with the supervisory authorities.
A conscious initiative projecting the values of responsibility, respect for the historical and artistic environment and safety.

In September 2016, the new spaces of Pasticceria Marchesi in Galleria Vittorio Emanuele II inaugurated on the mezzanine floor of the building. The area covers a surface of 250 square meters dedicated to the pastry shop, the arch windows offer characteristic views of the frescoes and the mosaic floors of the Ottagono.
At the end of December 2016, the following phase of the project for the restoration of the Prada Group building in Galleria has been completed with the opening of Osservatorio, the new Fondazione Prada’s exhibition space dedicated to photography and visual languages. The 5th and 6th floors of the building show the results of the renovation works that has made available a 800 m² exhibition space on two levels.

Ca’ Corner della Regina

The Venetian venue of Fondazione Prada

Ca’ Corner della Regina, the first example of non-baroque palazzo of its time, was built between 1724 and 1728 by Domenico Rossi for the family of San Cassiano, on the ruins of the palazzo where Caterina Corner, future queen of Cyprus, was born.
Some episodes of her life are depicted in the frescoes adorning the main floor.

Ca’ Corner’s architectural style echoes the nearby Ca’ Pesaro, by Baldassarre Longhena, currently the seat of Galleria Internazionale d’Arte Moderna and Museum of Oriental Art. The building is structured on three levels, which include two mezzanines between the ground level and the first floor. The façade is in Istrian stone with rustication over the ground floor and the mezzanine. The last descendant of the Corner family bequeathed the palace to Pope Pius VII and, until 1969, the building housed the Congregation of Padri Cavanis and Monte di Pietà, and later served as the seat of the Historical Archives of Contemporary Art for the Biennale, from 1975 to 2010.
The restoration of the building, suspended in 1995 by the public administration, started again in 2011 thanks to a concession from Musei Civici Veneziani that granted Fondazione Prada rights over the entire structure.
Initially, the work was limited to preservation and building repairs.

In December 2012 the palazzo was alienated by the Municipality of Venice and has now become the permanent Venetian headquarters of Fondazione Prada, with restrictions on the intended use of the building only as ‘museum space’ and a confirmation of the original promotion and preservation plan that was, however, delayed due to the alternation of restoration and repair works and the art exhibits scheduled for the spring/summer period.

All the work was carried out in accordance with the directives of the local Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e della Laguna (Venice and Lagoon Landmark and Landscape Preservation Authority) and the Municipality of Venice.