尽管意大利的经济在第二次世界大战后陷入了混乱，但现在是世界上最大的轮胎制造商之一的倍耐力在法西斯时代蓬勃发展。有鉴于此，阿尔贝托·倍耐力聘请吉奥·庞蒂设计了一座美国式摩天大楼，作为企业成功的象征和经济繁荣的乐观催化剂。[1]这座新摩天大楼将坐落在1943年被炸毁的前倍耐力工厂所在地。庞蒂组建了一个团队，其中包括有影响力的工程师皮尔·路易吉·纳维(Pier Luigi Nervi)和阿图罗·达努索(Arturo Danusso)，他们的专业知识为该项目的许多建筑和工程创新做出了贡献。

Despite the fact that Italy’s economy was in turmoil following the Second World War, Pirelli, now one of the world’s largest tire manufacturers, thrived during the Fascist era.  With this in mind, Alberto Pirelli hired Gio Ponti to design an American-Style skyscraper as a symbol of corporate success and an optimistic catalyst for economic prosperity. [1]  The new skyscraper would sit at the location of a former Pirelli factory that was bombed in 1943.  Ponti assembled a team that included influential engineers Pier Luigi Nervi and Arturo Danusso, whose expertise contributed to the many architectural and engineering innovations of the project.

 Courtesy of Università Iuav di Venezia - SBD, Archivio Progetti, Giorgio Casali's archive

Iuav di Venzia-SBD大学提供，Archivio Progetti，Giorgio Casali的档案

庞蒂超薄的33层楼高的建筑似乎像导弹一样从地面上飞升起来，高耸在其低矮的背景之上，位于项目现场的中心位置，塔被推开在街道之外。他认为，从城市规划的角度来看，这是有利的：一个高密度的建筑，具有较小的足迹，为交通和停车提供了更多的空间，同时给周围的街道带来更多的通风、日光和空间。[2]塔楼下设两层，设有停车800辆车、600座礼堂、工作人员自助餐厅和会议室，楼上设有开放式办公空间，可移动隔墙，以达到最大的适应性；当时办公大楼类型的创新应用。中心位置的流通和服务，计划和主要走廊微妙地缩小到塔的极端末端；一个有效的反应，减少的用户流量，也给建筑物一个细长的轮廓。狭窄的边缘结构之间的楼板玻璃，而在走廊两侧的三角形空间容纳机械管道和紧急循环。

Ponti’s slim, 33-story structure appears to shoot up from the ground like a missile, towering over its low-rise context.  Centrally located on the project site, the tower is pushed away from the streets.  He considered this to be advantageous from an urban planning perspective: a high density building with a small footprint provided additional space for traffic and parking while bringing more ventilation, daylight, and space to the surrounding streets. [2]  The tower included two levels below grade containing parking for 800 cars, a 600-seat auditorium, a staff cafeteria, and conference spaces.  The floors above hosted open office space with movable partitions for maximum adaptability; an innovative application for the office building typology at the time.  With centrally located circulation and services, the plan and main corridor subtly taper towards the extreme ends of the tower; an efficient response to the diminishing flow of users which also gives the building a slender profile.  The narrow edges of the structure are glazed between floor slabs, while the triangular spaces on each side of the corridor accommodate mechanical ducts and emergency circulation.

 29th Floor Plan

29楼图则

对于庞蒂来说，幸运的是，Nervi是钢筋混凝土方面的专家，并且拥有设计如此狭窄基础的结构的技术知识。这座塔是世界上第一座使用长25米的框架的塔，其特点是混凝土桥墩在接近顶部时逐渐变薄(从80英寸到20英寸)。这种对结构荷载的经济而有效的响应有助于最大限度地利用空间。同样值得注意的是塔的玻璃外墙。阳极氧化铝毛坯位于板外，将玻璃板固定在一起，形成无缝的幕墙。一个由二级结构支撑的薄屋顶似乎在建筑物上空盘旋。

Fortunately for Ponti, Nervi was an expert in reinforced concrete and possessed the technical knowledge to design a structure with such a narrow base. The tower, which was the first in the world to use a 25 meter long span frame, featured concrete piers that become gradually thinner as they approach the top (from 80 inches to 20 inches). This economical and efficient response to the structural load helped to maximize usable space. Also noteworthy is the tower’s thermopane glass façade. Anodized aluminum mullions located outside of the slabs hold the panes together to create a seamless curtain wall. A thin roof, supported by a secondary structure, appears to hover over the building.

 Cross Section

在倍耐力大厦建成的那天，庞蒂总是说他的作品是女性化的，他对自己的作品如此着迷，以至于告诉他的女儿们：“她太漂亮了，我很想娶她。”[3]与他自己的看法一致，这个项目受到了积极的欢迎。虽然庞蒂和他的团队设法把美国的摩天大楼带到意大利，但形式的优雅表明了意大利对类型学的解释。庞蒂长期以来一直很欣赏曼哈顿的摩天大楼，尽管在巴西，他与奥斯卡·尼迈耶(Oscar Niemeyer)进行了一次对话，他认为他有着“非凡的正式想象力”，这为他提供了想象如此独特的一卷书所需的灵感。[4]对公众来说，这个建立在美国理想基础上的乐观计划，标志着美好的未来。

On the day that the Pirelli Tower was complete, Ponti, who always spoke of his work in the feminine, was so enamoured by his work that he told his daughters that “she is so beautiful that I’d love to marry her.” [3] Consistent with his own opinion, the reception of the project was positive. While Ponti and his team managed to bring the American skyscraper to Italy, the elegance of form suggested an Italian interpretation of the typology. Ponti had long admired the skyscrapers of Manhattan, though it was a conversation in Brazil with Oscar Niemeyer, whom he considered to have “extraordinary formal imagination,” that provided him with the inspiration necessary to envision such an unique volume. [4] For the public, the optimistic project, founded on ideals from the US, served as a sign of better days to come.

这座大楼于1978年出售给伦巴第地区管理局。2002年4月，一架失控的小型飞机坠毁在其24层和25层，导致飞行员和两名乘客死亡，这再次成为头条新闻。这一事故，再加上建筑物的退化状况，促使2005年进行了翻修，并彻底更换了外墙。

The tower was sold to the Lombardy Regional Administration in 1978.  It again made headlines in April 2002 when a small, out of control airplane crashed into its 24th and 25th floors, killing the pilot and two occupants.  This accident, coupled with the building’s degraded condition, prompted a 2005 renovation and complete façade replacement.

 Pirelli Tower after plane crash. Image © Flickr user Michele M.F.

空难后的倍耐力大厦。图片c Flickr用户Michele M.F.

倍耐力大厦被广泛认为是庞蒂最重要的项目，它的完成标志着他职业生涯的巅峰。他的项目，就像菲利普·约翰逊(PhilipJohnson)的项目一样，随着他的发展，在风格上从20世纪20年代到30年代受诺维琴托运动的影响，再到后来的后现代作品，如1971年的丹佛艺术博物馆，倍耐力塔代表了他对现代运动的暂时迷恋。[5]它的非常规结果是他努力通过诸如空间和结构效率等实用考虑创造美的结果。

The Pirelli Tower is widely considered to be Ponti’s most significant project; it’s completion marked the pinnacle of his career. His projects, like those of Philip Johnson, vary greatly in style as he evolved. Between being influenced by the Novecento movement in the 1920s and 1930s, and his later Postmodern work such as the Denver Art Museum in 1971, the Pirelli Tower represents his temporary infatuation with the Modern movement. [5] Its unconventional outcome was the result of his endeavour to create beauty through pragmatic considerations such as spatial and structural efficiency.

创新的Pirellone在地方、国家和国际各级都具有影响力。该塔位于米兰中央车站(意大利最繁忙的火车站)附近，交通便利，是附近许多现代化和企业建筑中的第一座，后来发展成为米兰的主要商业区。在接下来的几年里，这一设计为几座摩天大楼提供了强大的影响和灵感，最引人注目的是纽约市类似的锥形泛美大厦(自1981年以来被称为大都会大楼)。尽管倍耐力大厦是一座进步而优雅的建筑和工程奇迹，但也许更重要的是，它也象征着一个国家的希望，在意大利几十年的积极经济增长之前成功地实现了这一希望。

The innovative Pirellone was influential at local, national, and international scales. Conveniently located adjacent to Milan Central Station (Italy’s busiest train station), the tower was the first of many modern and corporate buildings to follow in the vicinity, which evolved into Milan’s main business district. The design provided strong influence and inspiration for several skyscrapers in following years, most notably the similarly-tapered Pan Am Building (known as the MetLife Building since 1981) in New York City. While the Pirelli Tower served as a progressive and elegant architectural and engineering marvel, perhaps, more importantly, it also symbolized a nation’s hope, successfully preceding decades of positive economic growth in Italy.

[1]Ziegler，Claudia。走出灰烬和瓦砾：倍耐力塔(地点：公共领域设计论坛，第21卷，第1期，2009年)。[2]庞蒂，吉奥。意式浓缩戴尔的迪菲西奥倍耐力在康斯鲁齐奥内米兰，多玛斯，316：1-13。[3]Roccella，Graziella。吉奥·庞蒂，1891-1979年：轻盈大师(K ln：Taschen，2009年)。[4]利西德拉·庞蒂，莉萨。吉奥庞蒂：完整的工作，1923-1978(剑桥，马萨诸塞州：麻省理工学院出版社，1990年)。[5]意大利新星运动是1922年在米兰诞生的一场艺术运动。新古典主义者在原则上拒绝了当代风格，如前卫-加德和未来主义，而是寻求恢复拉丁古代的价值观，如和谐和纯粹的形式。

[1] Ziegler, Claudia. Out of Ashes and Rubble: The Pirelli Tower (Places: Forum of Design for the Public Realm, Volume 21, Issue 1, 2009). [2] Ponti, Gio. Espressione dell’edificio Pirelli in Construzione a Milano, Domus, 316: 1-13. [3] Roccella, Graziella. Gio Ponti, 1891-1979: Master of Lightness (Köln: Taschen, 2009). [4] Licitra Ponti, Lisa. Gio Ponti: The Complete Work, 1923-1978 (Cambridge, Mass.: MIT Press, 1990). [5] Novecento Italiano was an artistic movement that was born in Milan in 1922. Neoclassicist in principle, it rejected contemporary styles such as Avant-Garde and Futurism, and instead sought for a revival of the values of Latin antiquity, such as harmony and purity of form.

建筑师工作室Ponti Fornaroli Roselli，Valtolina Dell‘Orto工作室，法比奥·菲尔齐，22，20124米兰，意大利室内设计师，负责吉奥·庞蒂设计团队的建筑师吉奥·庞蒂，安东尼奥·福尔诺利，阿尔贝托·罗塞利，朱塞佩·瓦尔托利纳，埃吉迪奥·戴尔奥托结构工程师皮尔·路易吉·内尔维，Arturo Danusso地区24000.0平方米项目年照片Flickr用户IK的世界之旅，维基百科共用用户LapoLuchini，Flickr用户MAVA，Flickr用户Michele M.F.，Flickr用户Galli Luca

Architects Studio Ponti Fornaroli Roselli, Studio Valtolina Dell'Orto Location Via Fabio Filzi, 22, 20124 Milan, Italy Category Offices Interiors Architect in Charge Gio Ponti Design Team Gio Ponti, Antonio Fornaroli, Alberto Roselli, Giuseppe Valtolina, Egidio Dell'Orto Structural Engineers Pier Luigi Nervi, Arturo Danusso Area 24000.0 sqm Project Year 1958 Photographs Flickr user IK's World Trip, Wikipedia Commons user LapoLuchini, Flickr user mava, Flickr user Michele M.F., Flickr user Galli Luca