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他们的新作--意大利比萨银行新总部。这个项目有很多照片但却不能用作网络出版，所以建议大家上他们网站了解更多，作为这片文章的极大补充。当时编辑收到投稿以为图片都是可以发布的，结果很多最好的图片不能做网络出版使用，但当时已经答应发布了，故此篇内容略少。 由Massimo Mariani建筑师事务所设计的意大利比萨银行新总部于日前揭幕。新总部的开幕典礼在邻近的一块空地上举行，这设计标志着自1995年发起的城市扩建项目完满完成。总部的设计紧凑富有整体感，包含了室内设计结构和空间，以及高规格的环境质量标准。 比萨银行新总部的设计工作交由建筑师Massimo Mariani，他最近也开始设立独立设计公司。大楼位于意大利托斯卡纳- 罗马涅大区的Fornacette，标志着自1995年发起的城市扩建项目完满完成。银行原先的总部于1995年委托同一位建筑师设计，2008年决定在原址附近的广场上建造一个新总部。 新总部是一个梯形六面体的设计，包括地面与地下层设计共有4500平方米，三层建筑设计。外表看起来像是一块随着大气环境条件改变的巨大金属。地面上建筑是办公室区域，地下则被设计成300座席位的大礼堂和可供艺术展览活动的画廊。
The new Headquarters of the Bank of Pisa and Fornacette in Italy, designed by the
architecture firm of Massimo Mariani, recently inaugurated. The work represents the final step in a broader urban redevelopment project that started in 1995 with the inauguration of the bank headquarters, built on an adjacent lot. A compact and monolithic volume contains interior structures and spaces with surprising environmental quality.
The new Headquarters of the Bank of Pisa and Fornacette, designed by architect Massimo Mariani, recently opened for business. The building, located in Via Tosco-Romagnola in Fornacette (Italy), represents the final step in a broader urban redevelopment project the bank started in 1995 entrusting the design of its headquarters to the same architect; in 2008 it decided to build a new headquarters with a small square near the first building constructed.
The new building, a parallelepiped covering an area of around 4,500 sq m with 3 floors above ground and a basement, looks like a monolith with its metallic skin that changes depending on the atmospheric conditions. On the upper floors there are offices, and in the basement there is an auditorium with around 300 seats and a gallery for art exhibitions and events.
从外部看整体设计十分简约，有三面开口设计，但只有中间主墙上的开口是可以通向外面的。精于细节的设计既满足了对整体外观简约风格的要求，又达到了内部室内设计精密而符合高标准的环境质量。设计完全按照能源标准A/A+级别建造。（相当于LEED的白金标准）。建筑本身所带的彩色玻璃外墙能够打破整体的金属感外观造成的距离，开放的采光也能够让人们经过时能一窥这件银行的内部运营系统。
From the outside the volume appears extremely simplified, dotted with measured openings on three sides and only open to the outside on the main face, in a playful dialect between the desire for simplicity of the forms seen on the outside and the sophisticated experimentation of environmental quality in the interior, accomplished in the design of each detail. Built in energy class A/A+ (the equivalent of a LEED platinum), the building shows its operational core through the coloured windows that free and break up its monolithic mass, opening it to the light and allowing one’s gaze to pass through.
室内设计部分采用了大胆的开放式采光，活泼的空间安排突出了银行内部的行政管理职能。
两个中央庭院的元素构成了开放，流动，多元化的办公环境。庭院部分是一个大面积的立体花园，提供采光和通风的室内空间。由这些条件产生的整个内部空间使得行人通过时看到的内部空间是水平而立体的。外部墙面覆盖的主要材料是镀金金属，主墙部分则是彩色玻璃，在夜间整体建筑看起来就像是一个大灯笼，同时展现内部的木质和玻璃房间。
在构思这部新作品时，Massimo Mariani 充分运用了自己的敏感性和在上学时期就有的一个概念。比萨银行新总部的设计体现了和，与在教学中创建艺术研究的Leonardo Savioli，和在设计方面极具大胆前卫表现力的Remo Buti 或 Ettore Sottsass的对话。在进行这个项目时，Massimo Mariani再次展现了托斯卡纳及佛罗伦萨在七八十年代的学院派建筑文化，因此这个项目也是人们可以用来了解近几十年意大利建筑的杰出历史的方式。
In its interior the architecture reveals unexpected generosity in terms of air and light, as well as a lively spatial arrangement that highlights the administrative and managerial functions of the bank. Two central courtyards constitute the elements around which open, fluid and diversified working areas are arranged. The courtyards, defined by large surfaces with vertical gardens, provide the interior spaces with light and ventilation. The entire interior space created by these conditions allows the gaze to pass through it both horizontally and vertically. The main materials are gilded metal for the cladding of the monolith, multicoloured glass for the main façade, which at night transforms into a lantern, and wood and glass for the interior rooms.
In conceiving this new work Massimo Mariani brought into play the sensitivity and ideas he had developed since his education. The new headquarters of the Bank of Pisa and Fornacette manifests dialogue with the artistic research found in the teachings of Leonardo Savioli, as well as the artisan nature of the design and the unbridled expressiveness typical of the work of Remo Buti or Ettore Sottsass. In tackling this project Massimo Mariani once again reveals, with constant originality, some of the deep roots of the design culture developed in Tuscany and within the architectural faculty of Florence in the Seventies and Eighties. This work helps to describe one of the most brilliant and lesser-known paths of Italian architecture of recent Decades.
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