2011 Sie The New Life of The Teatro Alla Scala PDF
2011 Sie The New Life of The Teatro Alla Scala PDF
2011 Sie The New Life of The Teatro Alla Scala PDF
To cite this Article Malerba, Pier Giorgio(2010) 'The new life of the Teatro alla Scala', Structure and Infrastructure
Engineering,, First published on: 09 April 2010 (iFirst)
To link to this Article: DOI: 10.1080/15732471003588320
URL: http://dx.doi.org/10.1080/15732471003588320
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Structure and Infrastructure Engineering
2010, 1–14, iFirst article
‘The Scala is the first theatre in the world, because it is that which gives the maximum enjoyment’ (Stendhal 1816).
Unfortunately, after two centuries of glorious service, the historical-monumental part and the hall of the theatre
clearly needed restoration interventions, while the backstage, subjected to the wear of time, having undergone
haphazard additions and continual adaptations over the years, was no longer able to meet the request of a today’s
theatre. The project of the New Teatro alla Scala was hence composed of two distinctive parts: the project of the
refurbishment and of the restoration of the historical-monumental part and the project of the buildings for the new
scenic plant. This paper presents an overview of the design concepts and of the problems encountered during the
design phases and during the restoring and construction works.
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1. Introduction ‘In the fight between words and music, the winner
There are artefacts for which the end of a life cycle was the spectacle’ (La Nuova Scale 2004).
coincides with the beginning of a new life. This was
the common destiny of the major lyrical theatres in
the two past centuries. 2. Some historical notes
At the beginning of the 1800s, the first opera stages When dealing with monumental buildings, one of
used oil lamps and bi-dimensional scenes, made of the major problems is represented by the necessity
painted wings moving transversally along the stage. of manipulating (through modification, destruction,
Between artists and spectators there was no clear burial) material parts which belong to history.
separation. The following evolution of the scenic set In truth, the modification of the theatre was
involved tri-dimensional setups, with solid architec- continuous. Born as the ‘New Royal Ducal Theatre’,
tures, complex scenic machines and wide and rapid it was designed by Giuseppe Piermarini, under the
scenic movements of the ballet and of the singers. auspices of the Empress Maria Theresa of Austria and
New hidden volumes were required under the stage with the financial support of the Milanese aristocracy,
and the wings became a set of layers moving vertically who bore the costs in exchange for the ownership of
above the stage. All these transformations required a the boxes. The new hall was inaugurated on 3 August
deepening of the scenic pit and a remarkable increase 1778, and took the name of Teatro alla Scala, as it
of the height of the scenic tower. was built on the former location of the church of
This continuous evolution was the same in all Santa Maria alla Scala. It was characterised by a plain
theatres: the stalls and the galleries of the boxes were neoclassic façade and by a sumptuous interior, with
maintained in their original form, while the changes five orders of boxes, a luxurious central imperial box
regarded the scenic plant, which gradually became and eight proscenium boxes. The curtain was painted
something completely separated behind the boccascena by Domenico Riccardo and represented the Muses in
(the proscenium) front. the Parnassus. The platea (main floor), destined for
The invention of the boccascena and the parting the lower classes, had no chairs and the same space
between stage and spectators make the stage a magical was periodically used as a dance hall. The lighting was
place: this disjunction fostered the invention of per- originally provided by candles. In 1787 the lighting was
spective illusions, of special effects machines and, with improved by 84 oil lamps with glass bulbs mounted
the coming of electricity, of more and more complex in front of the stage, and by 996 lamps hanging from
light effects. the roof. In 1807 the Theatre was closed, to allow
*Email: malerba@stru.polimi.it
important work on the decoration of the interior. In was given on 11 May 1946. Regular spectacles re-
1814 the depth of the stage was increased by architect started on 26 December 1946.
Pietro Canonica. In 1821, thanks to the director of Following the work which took place in the 1930s,
stage design, Alessandro Sanquirico, the candle light- it was clear that any further extension would be
ing was replaced by the famous great chandelier, with impossible, because of the intrinsic limits of the
84 oil lamps, replaced by gas lamps in 1860. building box. Moreover, the obsolescence and wear
In 1838 all the decoration was unified using a of the electrical wiring, the hydraulic plant, the fire-
crimson colour. In 1875, the square in front of the extinguishing system and the heating, clearly required
theatre was modified and acquired its present appear- new, wider and completely different spaces.
ance. In 1883 electric power was installed. In January 2002 the theatre was closed and all the
Immediately after the First World War, the activities were transferred to the Arcimboldi Theatre,
theatre closed, due to economic difficulties, and in order to allow the radical works for the new Teatro
re-opened in 1921 under the management of the alla Scala.
Ente Autonomo Teatro alla Scala. In the same year,
the height of the scenic tower was increased, so that
the wings could be shifted vertically, instead of being 3. Design concepts for a new theatre
rolled up on large wooden drums and placed behind When we imagine the Teatro alla Scala, the pictures
the roof. that come to mind are those of its monumental front
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In 1932, Luigi Lorenzo Secchi built the so-called (Figure 1), of its lounges and of its magnificent internal
Scale degli Specchi (mirror stairs) which connect the hall.
stalls to foyer. The foyer had a new settlement and a A lot less is known, however, about its interior,
new decoration in 1936. In 1937–38 a new stage hosted that is, what lies behind the boccascena, where the
movable bridges and walls, moved by hydraulic scenic machine, the auxiliary systems and the labora-
devices. The central part of the stage became a wide tories which form this complex theatrical mechanism,
platform of 330 square metres and a complex sub- are to be found.
division of the deck structures allowed a true tri- In 2001 the historical-monumental part and the
dimensional management of the stage volume. hall of the theatre clearly needed restoration, while the
In the night between 15 and 16 August 1943, a backstage, having undergone continual adaptation
severe bombardment on Milan caused the collapse of over the years, was no longer able to meet the requests
the roof, of part of the galleries, of the boxes, of the of a modern theatre.
stage and of all the service spaces. The project for the new Teatro alla Scala was
In 1945 Andrea Greppi, the new Major of Milan, composed of two distinct parts: the project of the
designated Antonio Ghiringhelli as temporary com- refurbishment and the restoration of the historical-
missary and started the works to rebuilt the theatre. monumental part and the project of the buildings for
The inaugural concert, directed by Arturo Toscanini, the new scenic plant.
Figure 1. Frontal view of the historical front and of the new volumes of the Teatro alla Scala.
Structure and Infrastructure Engineering 3
These two different views of the theatre have . the design of the scenic tower, which involves
therefore been reflected in the two different objectives wide span deep beams, which cover the mouth of
given to the project: its first aim was to safeguard the the stage and which support the five levels of the
theatre’s historical value and to maintain its right to backstage in the rear;
remain an icon of Milan; the second was to create new . the design of the lateral sets, covered by wide
structures and spaces in order to supply a solid span and heavily loaded floors and including
platform to support a theatrical mechanism worthy the structure of the ‘ovoid’, which contributes
of the Teatro alla Scala. to characterise the new image of the theatre
As shown in Figure 2, the historical and the new (Figures 1 and 3);
buildings are divided by the section line which, starting . the hybrid interventions which involved both the
from Via Verdi, moves along the boccascena, the south historical and the new spaces;
east side of the Hall, and the rear part of the Scala . the special problems of the organisation of a
Museum, up to Via Filodrammatici. complex construction site, confined into the
Such new buildings have been erected in the volume centre of Milan.
of the old scenic tower, which has been demolished,
and are composed of the new scenic tower, space for
the scenic supplies and new offices. 4. The demolition phase
The main problems encountered during the design In order to build we first had to demolish, being careful
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The greatest difficulties we faced in carrying this only along one lane, supplying at the same time a basic
out was caused by having to maintain the two façades, structure for site facilities. Moreover, the area within
one on Via Verdi and the other on Via Filodrammatici, the portal was suitable to house deposits and set up the
intact. These two façades have been re-adapted over cranes.
the years but have now become part of the city’s The portico and frontispiece support in Via
landscape. Filodrammatici set several complex problems. On
one hand, due to the fact that there were to be no
excavations behind the pre-existing structure, there
4.1. The demolition project were minor static worries. On the other, the narrow
The first step in the demolition project was to erect width of the street would not allow for any cumber-
sturdy protection structures in order to support the some structure.
façades in Via Verdi and Via Filodrammatici once At first it was planned to build weighted scaffold-
the floors and the columns, which originally exerted ing. However, on a second viewing, during work
the stabilising action, were removed. procedures it was decided to create a metallic truss
The scenic pit, which is just behind of the façade which would occupy the same volume as the existing
along Via Verdi, had to be deepened to 18 metres portico, reduce the encumbrance along the street and
below street level. This deepening left at the interior at the same time support the weight of the stonework
side an open front of about 42 metres from the bottom structure to counterbalance accidental load forces.
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of the excavation to the top of the façade and a front of All the support structures were built in such a way
24 metres at street side on the boccascena side. The free as to resist totally against any type of accidental force
prospect was over 50 metres. foreseen during work, especially forces caused by the
We therefore had to erect support structures in wind. Particular attention was paid to deformation
open areas in Via Verdi. The idea was to fix the wall to behaviour, making sure that the metallic structure
metallic buttresses. These buttresses were shaped like a support deformation was compatible with the static of
portal with a relatively restricted encumbrance. Thus, the stonework to be garrisoned.
traffic could flow regularly along Via Verdi, even if The attention was then focussed on the demolition
sequence. It was obviously impossible to demolish as in
an open area, by simply razing the building to the
ground. Starting from the top and working down, each
demolition phase was followed by a clearance phase.
The problem was solved by first demolishing the
roofing (Figure 4) so as to reach the scenic pit area,
Figure 3. The Ovoid. Figure 4. The cutting of the roof truss beams.
Structure and Infrastructure Engineering 5
moved independently from each other, or can be lateral volume of scene (Figure 10), which will be
lowered simultaneously as a whole, making the described in the following section.
stage area completely free for a new stage. The . the volume of the stage itself, from level þ1.08 to
deck for a new stage is cantilevered from the level þ14.57 metres;
Structure and Infrastructure Engineering 7
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. the part over the stage which hosts the set of the reinforced by means of injections inside the steel tube
vertically movable scenes and, over this, the and placed at a mutual distance of 35 centimetres. The
system of graticce (two wooden grillages), on piles were made transversally collaborating through six
which lies the system of suspension and of pairs of horizontal steel beams, anchored below Via
movement of the scenes. Verdi through six levels of nearly horizontal pre-stressed
tendons (Figure 11). A similar solution was adopted
along the section at the two sides of the boccascena. Due
5.1.1. The scenic pit to the higher vertical loads acting in this zone, the
The scenic pit is 24 6 34 metres in plan, plus a short retaining wall was made of two layers of piles at a
prolongation along Via Verdi (Figure 2). At the basis, distance of 35 centimetres and with a relative shift of
the lower level of excavation was at 18.60 metres below 17.5 centimetres. In the central part of the boccascena,
street level (Via Verdi). This involved a deepening of 6 corresponding to the stage width and carrying lower
metres of the previous basis level of the scenic pit at 12 loads, the sheet wall is limited to a simple line of micro-
metres. piles and five levels of pre-stressed tendons.
The retaining of the lateral excavation fronts was On the other two sides of the perimeter, those
carried out by means of anchored sheet piles walls and parallel to Via Filodrammatici and along the ex San
of sheet walls made of jet-grouting columns. Paolo Bank, the increase of loads were lower and sheet
The retaining wall at the foot of the historical front walls made of jet grouting reinforced columns, 120
to be preserved along Via Verdi is of berlinese type, centimetres in diameter and spacing of 80 centimetres
made of 25 centimetres diameter micro-piles, internally (hence partially compenetrated) were adopted.
8 P.G. Malerba
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Figure 10. Transversal section of the backstage. The lateral volume can also be seen.
was used. According to this technology, concrete is . the building of vast openings onto the boccasce-
assumed impermeable and waterproofing is entrusted na, on the sides and backstage, which would
only to the concrete walls. allow for quick and safe access for setting the
This waterproofing technique makes use of low scenes.
porosity concrete with a controlled shrinkage, cast in
segmented strips, separated by means of special ducts These requirements were met through wide edging
incorporated in the thickness of the walls. These little floors, cantilevered from 40–50 centimetres thick
ducts create weak wall sections, which have the effect perimeter walls, which form spacious galleries on
of shrinkage and therefore give way to pre-defined and different levels all along the perimeter of the pit
regular crack patterns. These cracks are then sealed by (Figures 6, 12 and 13). The voids opening onto the
injecting very low viscosity resin into the ducts, which, boccascena, the stage sides and backstage were covered
once hardened, makes the whole surface waterproof.
Such a system would also be employed to achieve
sealing in unexpected flaws or fissures resulting from
casting.
The concrete characteristics were decided after a
thorough study of mix and additives. When detailing
the reinforcement, a great deal of attention was paid to
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by means of three deep beams spanning on 25–30 and þ36.77 metres was set up on five different levels,
metres, which support the upper section of the tower, made of wide span decks, which are borne by the
as far as the roof beams. boundary structure alone, without any other support
The roofing beams have two different purposes: (Figures 2, 7–9). In particular, in the area between the
supporting the actual roof and, at the same time, backstage and the scenic pit, these decks weight on a 40
bracing the two wooden graticce from which, at two centimetres thick deep beam built in reinforced
different levels, the scenes are hung. concrete columns 80 centimetres thick and 4.00 metres
Having easy access to the work areas was of vital wide.
importance in order to both manoeuvre machinery and At the other opposite sides, these same decks bear
to permit staff to move about their jobs. It was on the columns, erected on the vertical walls below. In
therefore decided to opt for a ‘Vierendeel’ beam type order to build these decks, it was first decided to employ
that is a beam framework, having only horizontal and self carrying pre-cast elements. This choice was how-
vertical elements, but no diagonal ones, as these would ever discarded because of transportation and placing
obstruct circulation (Figure 14). difficulties and a more traditional cast in place structure
The lower flanges of these ‘Vierendeel’ beams also was chosen. The decks were thus built with beams of 17
sustain the first floor of work of the first graticcia. The metres span having section 75 centimetres 6 40 centi-
second graticcia was hung from the main beams by metres, and made collaborating through a 15 centi-
means of steel braces and stabilised horizontally by metres thick slab. For the deck at þ14.82 m, directly
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connecting it to the surrounding concrete structures. above the stage area, the cross-section of the beams was
Apart from the problems deriving from having to increased to 95 centimetres 6 40 centimetres, as this
co-ordinate the actual geometry of the roofing beams area undergoes major live loads.
to every other need connected to the installation of
theatrical equipment, other limits, such as methods
and time of construction, were set. One in particular 5.2. The lateral volume of the stage
was the need to transport enormous metallic elements For this part of the building, which is between the
through the centre of the city. A detailed study then offices along Via Filodrammatici and the scenic tower
had to be carried out as to the size and weight of each (Figure 7), the design process had to deal with two
segmented beam, made of prefabricated elements, so as different types of restraints: functional and architecto-
to travel and be manoeuvred unhindered on the site. nical ones.
In the end, the solution chosen allowed the On one side, there was the need to leave a large free
avoidance of welding in place and reduced bolted space on the left side of the stage in order to mobilise
joints to a minimum. the stage equipment by means of a bridge crane; on the
other, the need of covering this volume with six floors,
intended as service spaces for the theatre.
5.1.4. The backstage In the original project, two reinforced concrete
Apart from the two basement floors, the backstage deep beam walls, having wide openings (Vierendeel
had to have no intermediate structures whatsoever. type beams) were meant to reach the roofing, starting
For this reason the volume between þ14.82 metres from þ14.60 metres of height, and were intended as
central support for the floors.
The architectonical update of the project has
highlighted the need of having, above the stage, two
large floors destined to technical services. The new
elliptical body, designed by architect Botta and having
four more floors would have emerged, starting from
18.06 metres high, as an independent volume from the
block below (Figures 1, 3, 15 and 16).
The floors above the area at the side of the stage are
supported by means of two steel beams, having a 20
metres long span and 7.50 metres height, avoiding the
subdivision of the large spaces needed with pillars.
These massive beams are supported by two walls,
reinforced by strong pilaster strips that, starting from
the foundations, go through the two technical floors
above the stage and sustain the four floors of the
Figure 14. Steel Vierendeel beams of the roof. elliptical body.
Structure and Infrastructure Engineering 11
Figure 15. Inferior flange of the Ellipse supports. 5.4. The structures of the monumental part
The site investigations ordered by the Milan Munici-
pality during the design stage, together with a new
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monumental part of the building overlooking via Figure 17b shows the corresponding horizontal
Filodrammatici. displacements at different levels of the retaining walls
A (via Verdi) and B (boccascena). Maximum horizon-
The demolition phase started from above towards tal displacements were 4.0 millimetres at the TDP 1,
the lower parts, following a precise schedule and along Via Verdi, and 8.0 millimetres at the TDP 22, at
with the aid of a powerful crane that, after the the left side of the boccascena. These results satisfied
preliminary demolition of the roofing, was placed in the imposed design provisions concerning the deform-
the middle of the scenic tower. Thanks to its placing, ability of earth retaining walls. The low values found
the crane served the entire building site, allowing the have exceeded even the most optimistic estimates
cutting and lowering of the most important struc- concerning the deformability of the earth sustaining
tures, such as the tower roofing reinforced concrete structure.
trusses, and the mobilisation of all elements of The excavation works to 718.60 metres below
medium and large dimensions that cannot be simply ground level were carried out in complete safety and
left free to fall to the ground. All demolition has with no consequence whatsoever for the surrounding
been performed with the most advanced technologies buildings.
by highly qualified workers, who worked with An important feature is represented by the 1.20
elevated safety standards, operating machineries metre thick concrete bed at the bottom of the pit. The
with remote controls and keeping everything under need for good waterproofing determined that the
control with camcorders and from distant points of casting was made in a limited number of phases, in
observations. order to minimise the interfaces between concrete of
The intervention has produced more than 20,000 different ages.
cubic metres of debris, the removal of which has been
specifically planned. The congested traffic in the
centre of Milan and the impossibility of certain 6.3. Cast in place and pre-cast structures
activities to be performed during daytime made it Given the placing of the theatre in the centre of a
necessary to remove the debris at night time only. In busy city, it has been necessary to deal with elements
order to unload the debris to the re-cycle stations of limited dimensions that could be assembled on
more than 1000 trips of 3- or 4-axle lorries have been site. This has been the case of the bearing structures
necessary. of the elliptic body and of the roofing structures of
During the demolition phases 500 tonnes of steel the pit.
had already been separated from wooden materials, The big bearing beam of the elliptic body was
so that the latter did not mix up with concrete or assembled in only 12 days between the beginning and
masonry. The only space available for the storing or the middle of January 2004. In June 2004, with the
the building material outside the working area was same speed, the roofing of the scenic tower was
that obtained fencing in one of the lanes in via Verdi. assembled.
The other lane, with few exceptions, was always Having five cranes (six, if we consider the one used
passable. for the demolitions, then removed) made it possible to
Structure and Infrastructure Engineering 13
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Figure 17. (a) Vertical displacements along the perimeter at the top of the retaining walls, measured at the end of the casting of
the scenic pit. (b) Horizontal displacements at different levels of the retaining walls A (Via Verdi) and B (boccascena).
minimise the downtimes. Additionally, a good deal of The large wall beams were erected with subsequent
attention has been required by the personnel operating castings by means of metallic formworks. This
the cranes. construction method required, in the first place, the
14 P.G. Malerba
building of very high scaffolding which would later Field engineering: Stefano Tugnoli, Mauro Turrini.
support the formworks. The Contractor was the temporary association of
Having at disposal a fixed concrete pump has Consorzio Cooperative Costruzioni, F.lli Panzeri SpA,
considerably increased the speed of casting of bigger DEC SpA.
casts. For smaller volumes it has been chosen to
transport the concrete by means of cranes. 8. Conclusions
After two centuries of glorious service, the Teatro alla
Scala, needed relevant restoration and refurbishment
7. Duration and general data on the works interventions both in its historical-monumental part
Beginning: May 2002 and in the backstage which was no longer able to meet
Works on monumental part: May 2002–October the request of a modern theatre.
2004 The project of the New Teatro alla Scala was
Demolition works: June 2002–November 2002 composed of two distinctive tasks, related to the two
Special foundations: December 2002–May 2003 different types of architectural and engineering pro-
Scenic tower: June 2003–June 2004 (16.000 cubic blems: the project of the restoration and the project of
metres of concrete) the new buildings.
Roofing of scenic tower: June 2004 (1860 tonnes of In this paper, the general criteria at the basis of the
steel) overall design and of the subdivision between the
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Elliptical body: January 2004–April 2004 (140 restored parts and the completely new ones, the new
tonnes of steel) scenic machineries, have been presented, together with
Lateral body along via Filodrammatici: March the main technical and structural characteristics and
2003–March 2004 the volumetric distribution of the different buildings.
Finishing works: September 2004–December 2004 Special attention is paid to the works in the scenic
Total labour: 98,700 hours pit, whose structures had to be compatible with the
Technical Staff: 15 technician and administrators complex mechanics of the theatrical equipments.
Contractor Staff: 22 technician and administrators Although the works for the new Teatro alla Scala
Cost: 55 million euros certainly had unique features and involved the resolu-
Opening: 7th December 2004 with the opera tion of problems of a special nature, some of the same
Europa Ritrovata by Giovan Battista Salieri problems emerge whenever inevitable restoration
Director: Riccardo Muti. works are performed on buildings which have strong
artistic or historical values. Issues connected to the
preservation, structural safety, functional adjustments,
8. Design staff economic management show up not only for theatres,
The design staff for the new structure was composed as but also for religious buildings, historic buildings
follows: which host public offices, bridges and infrastructures
Original architectural project: Giuliano Parmegiani.
in general.
This paper is aimed to show how, operating with
Executive architectural project: Mario Botta. care and exploiting different expertise, it is possible to
Architecture and restoration of the monumental part: safeguard memory and maintain the original functions,
Elisabetta Fabbri. giving in this way a new life to buildings with a
Scenic plant: Franco Malgrande. glorious past.
Original structural project: Francesco Martinez y
Cabrera, Gabriele Salvatoni, Pier Giorgio Malerba. Acknowledgements
Executive project of general structures: Aldo Bottini, With thanks to Mr Antonio Acerbo of the Milan Munici-
Nicola Malatesta, Sergio Sgambati of BMS Progetti pality, Project Manager and Works Director.
Srl, Milano, with Alberto Gentina, Alessandro Biondi,
Gabriele Weisz. Reference
Executive project of the monumental part: Emanuela La Nuova Scala: Il Cantiere, il Restauro e l’Architettura,
Cristante, Carlo Kehrer, Roberto Uslenghi. 2004, Marsilio Editore, Venezia, December 2004,
www.marsilioeditori.it.
Special foundations problems: Paolo Marcellino.