Internationally renowned, La Scala is part of Milan, its inhabitants, and also and important part of the world’s cultural heritage. The new La Scala was born from the desire to allow the theatre to survive throughout time, protecting its historical roots whilst offering a contemporary look for the future.
The general project included the restoration of Piermarini’s original centre, as well as changing the nature and use of the existing space. Hence Architect Botta’s idea of adding two impressive new features: a tower, in sympathy with the spaces designed by Piermarini, equipped with stage machinery that is unique; an elliptical body, to house offices, dressing-rooms and the dance school. These two features, capable of complementing the restoration work and the city itself, needed innovative and specific facade solutions.
For the ellipsoid, a sunbreak with vertical beams; for the tower, a ventilated facade with tiles in a staggered layout and a starlit sky illumination system.
On a project of this magnitude Aliva’s involvement was subject to critical scrutiny, and yet the company happily rose to the challenge of creating and installing the facades of the new features which have rightfully entered into a new part of Milan’s history.

Aliva’s extensive fundamental designing stage allowed structural and building problems ti be dealt with and solved in advance. As any other project, Aliva’s design team used a rigorous approach, involving a few fundamental stages.
Initially the architectural project related to the building envelope was carefully studied from all formal and structural points of view.
Then, the nature and kind of structural elements needed to carry out the project had to be determined, keeping in mind the face that was to be applied: Botticino marble.
Finally the design plan was presented, with all its structural calculations, fastening systems for the face and original installation solutions.

Architect Botta’s project involved the ellipsoid’s surface being covered by a surface made of beams of Botticino marble, evenly separated, to welcome in the natural light, while externally displaying a vibrant and layered surface. The selection of this material, already used inside the theatre and compatible in colour and impact with the surrounding architectural environment influenced Aliva’s design choices. The weight of each individual Botticino element, the limited mechanical performance of the stone and the absence of an on-site working area, meant that the panels had to be pre-assembled far from the theatre, where precise controls on the ground could be performed, a unique solution in the international architecture
During the design stage Aliva engineers transformed the ellipsoid’s geometry into almost perfectly circular arches. The total surface was then divided into three main courses, one for each floor, which were then each subdivided into panels between 3.5 and 4 meters in length, and 3 to 4.15 metres in height, for a total of approximately 63 panels, each weighing approximately 2 tonnes. A careful topographic survey allowed the tolerance of the main steel structure to be adapted to those of the sunbreaks (which are very small).