Residenze Est / Cappai Mainardis | Classics On Architecture Lab

Architects: Cappai Mainardis
Photographs: Filippo Poli
Town: Ivrea
Country: Italy

Residenze Est, a mixed-use project by Cappai Mainardis in Ivrea, Italy, completed in 1975, reflects Olivettian ideals of merging private and public spaces while addressing the city’s social and cultural needs. Situated near the Morainic Ridge and Roman remains, its reinforced concrete and steel structure includes a 70-meter beam visually aligning with the landscape. Spanning six levels, it houses apartments, retail spaces, a conference hall, a cinema, a gym, and a pool, featuring modular interiors inspired by naval architecture. Design elements include rotating wardrobes, submarine-style windows, and movable walls. Nicknamed “typewriter” for its aluminum modules, the building has faced challenges, including partial abandonment and the closure of the Hotel Serra, although spaces like the conference hall and pool remain functional. Despite these issues, its 2012 inclusion on Italy’s UNESCO tentative list underscores its significance as a Modern Movement icon and potential for revitalization.

In 1975, a spacecraft descends near the Morainic Ridge of Ivrea, its robust reinforced concrete supports carefully positioned close to Roman-era archaeological remnants. The passage of two millennia presents challenges in identifying an appropriate landing site. The surrounding landscape is dominated by ancient structures constructed from brick and stone, remnants of a prehistoric past.

Residenze est / cappai mainardis | classics on architecture lab

The East Residences stand as an emblematic project reflecting Olivettian philosophy and represent Adriano Olivetti’s (1901–1960) final contribution to the Canavese region. Designed for Ivrea, the project sought to reestablish connections between individuals and the community, as well as between private and public spaces. Their self-sufficient nature underscores a broader crisis in the relationship with the traditional urban framework.

This innovative technological structure was envisioned to invigorate the social and cultural life of Olivetti’s guests. These visitors, often hailing from major cities and familiar with a dynamic environment of events and conferences, faced disorientation in the tranquil provincial setting, marked by its natural surroundings and the gentle flow of the Dora Baltea.

The project by Cappai Mainardis occupies a site earmarked for urban renewal, positioned next to the wall of a 15th-century monastery. It introduces a 5-meter gap featuring modular glass windows that open onto a narrow semi-private street. On the opposite side, the building is set apart from the Dora riverbanks by public gardens leading to a small square, where the cantilevered block of apartments prominently frames the main entrance to the shops and residences.

The floor plan spans six primary levels, accommodating a garage, a pool and gym, Roman and medieval ruins, a conference hall, a cinema, a restaurant, two bars, multi-level retail spaces, and 55 mini-apartments. The cross-section highlights the building’s intricate design, featuring a dynamic arrangement of floors, mezzanines, overhangs, staircases, bridges, and ramps.

The supporting structure consists of reinforced concrete and steel beams. A primary beam, spanning nearly 70 meters, creates a subtle connection with the precise 25-kilometer line of the morainic hill. Yellow- and silver-painted metal panels, along with concrete infill elements, reflect light in harmony with the surrounding landscape, including the snow-capped Alps.

Originally envisioned as a building deeply integrated with the city, engaging it through the functional complexity of a megastructure, the project now exists in isolation. To the north, a simple barrier has converted the street in front into a private parking area and public restroom, while “security” railings have obstructed the original permeability between the garden and the center along the north-south axis. The structure’s management and maintenance became increasingly challenging after its 2007 sale by Pirelli RE to private owners, who remain committed to preserving its vitality. Current legislation on super-condominiums offers a potential avenue to reclaim the common spaces, which have long been neglected and treated as unclaimed territory.

The elevated shopping level was the first area to fall into disuse. The long corridor, once covered with studded Pirelli rubber, now serves various purposes: a nighttime shelter, a venue for romantic meetings, or a canvas for graffiti. By contrast, the street-level commercial floor continues to operate at the building’s front, benefiting from greater visibility beneath the overhang of the Hotel Serra wing, which ceased operations in 2001. Despite its decline, the interior retains unique features, including foldable tables mounted on the walls, stools that integrate seamlessly into the bar counter, and an intimate breakfast room. This room stands out for its distinctive proportions, with a long, narrow, and low corridor resembling the confined spaces of a mountain refuge or a train carriage rather than a conventional dining area.

The conference hall, referred to as the “Dome,” is the only public space that remains in use and retains its original form. In contrast, the entrance hall has been modified with the addition of a mezzanine, partially integrated into the existing structure, and the cinema room has undergone alterations, losing its initial design due to the replacement of its seating. The semi-underground pool, naturally illuminated through light wells and ship-like portholes, has continued to operate without interruption. Its large, open volume is perceptible from the exterior through the visible ventilation hatches.

The array of aluminum modules integrated into the main beam structure earned the project the nickname “typewriter,” as it evokes the keys of Marcello Nizzoli’s Lettera 22 typewriter. Some of these living modules retain their original design, incorporating features inspired by naval architecture, such as rotating wardrobe/mirrors, drawer steps, and wardrobe walls, which optimize the limited space. The terrace volume extends over 40 square meters, introducing light to the interior and connecting to the staircase/furniture leading to it. A narrow corridor, illuminated by submarine-style windows, guides visitors to the study/terrace, where mechanical ingenuity is most evident. The porcelain-coated steel ceiling and wall, operated by a chain mechanism, slide along a 45-degree axis, seamlessly opening the space to the gardens outside.

Ivrea, shaped by visionary patronage, evolved into an open-air laboratory for the Modern Movement. Today, the outcomes are mixed: the Cappai Mainardis project, nicknamed the “Canarinia,” faces partial abandonment, much like Gabetti and Isola’s underground residences, colloquially referred to as “Talponia.” Despite this, the structure remains an innovative design, offering unique spaces to the city. On May 3, 2012, Ivrea was officially added to Italy’s tentative list for UNESCO World Heritage Site nominations. If recognized, it would become the first modern architectural example in Italy to receive such distinction—a hopeful milestone.