What if we stopped building new structures entirely and instead focused solely on upgrading and repurposing what we already have? What if we started believing that our cities, as they stand, are sufficient – and that all design efforts should aim to improve what’s already built?
While we may never fully reach this utopian scenario – so far removed from the reality we live in, with its ongoing “race to build the tallest skyscraper” – we should already recognize the urgent need to rethink how we design. More importantly, we should embrace practices that allow us to sustain life on this planet longer.
We discussed these ideas with Ippolito Pestellini Laparelli, who, after 15 years at OMA, returned to Milan to establish 2050+, an interdisciplinary agency committed to restoring and reusing the existing built environment – a philosophy rooted in a clear vision of what design can be.
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At the Domus Café della Stampa at Cersaie 2024, Pestellini spoke about the restoration of the iconic Rinascente in Rome, originally designed by Franco Albini and Franca Helg. This project represents a true historiographical exercise – an “archaeological operation” aimed at preserving the core elements of the original design. The exposed fluxes, the Silipol façade panels, and the revival of the interior design – all grounded in extensive archival research – are a testament to the studio’s chosen approach.
“This project was born from the Albini archives,” explains Laparelli. “The archive was key, preserving every version of the project, including those never built or rejected by the Superintendence. It allowed us to open a dialogue with the relevant authorities.” By drawing on this resource, Laparelli and his team revived ideas that Albini and Helg had envisioned, but had never been able to fully realize.
Just as we’ve started rethinking the entire production chain in fashion – given the environmental damage caused by fast fashion – the construction and architecture industries, now dominated by fast architecture, need to be similarly reevaluated
Ippolito Pestellini Laparelli, 2050+ founder
But preservation isn’t just about maintaining historical memory. In his interview with Domus, Laparelli highlights an often overlooked or ignored aspect of buildings – their energy heritage. “Every building accumulates an ecological footprint throughout its construction process. It’s like a reservoir of ‘grey energy.’ When assessing an existing structure, we need to account for the energy expended from the start of its development to its completion.”
In other words, instead of just looking at the Life Cycle Assessment (LCA) of a new building, we need to zoom out and consider the material, energy, and economic effort that went into the original one.
Is every building worth saving? The answer, as Laparelli sees it, is clear: no. But the issue lies in our approach. “Just as we’ve started rethinking the entire production chain in fashion – given the environmental damage caused by fast fashion – the construction and architecture industries, now dominated by fast architecture, need to be similarly reevaluated.”
The comparison to the fashion industry is apt: building something from scratch, much like buying fast fashion, is often the easier – and cheaper – option.
This is why Laparelli mentions the House Europe project, spearheaded by Arno Brandlhuber and the studio bplus.xyz. The project aims to create legislative frameworks to help European countries rehabilitate existing buildings. Through specific laws and tax incentives, House Europe promotes investing in the built environment.
Major players like Herzog & de Meuron, Fosbury Architecture, and COBE have already joined the project, along with Lacaton & Vassal, winners of the 2021 Pritzker Prize. Laparelli cites their 530-apartment building in Le Grand Parc in Bordeaux as a prime example of successful regeneration.
Currently, House Europe includes at least 15 European countries, including Italy. “Italy, unlike many others, has vast experience in rehabilitating existing heritage,” notes Laparelli. “In fact, the market here is primarily focused on transforming what already exists, rather than building anew.”
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Yet, even in Italy – where reworking existing structures is common practice, partly due to the role of the Superintendencies – a significant portion of architectural heritage is often overlooked. This particularly affects post-war buildings.
Pestellini points to Arrighetti’s bidoncino in Largo Treves, Milan – a small tower-like structure that was briefly revived during Design Week 2023, only to be demolished to make way for a new residential complex. “We need to really understand what’s happening in our cities,” Laparelli urges, “and how the demolition of a building serves as a litmus test for the political economy driving urban development.”
2050+ takes a very different approach to these challenges. After completing the renovation of 10 Corso Como in Milan,Laparelli’s studio is now taking on a new challenge: the renovation of the Palazzina dei Principi in Naples, located in front of the Royal Palace of Capodimonte. This building, which will house the Lia and Marcello Rumma collection, is a 18th-century structure layered with elements from different eras, including 19th-century interventions, making it a complex undertaking.
“This type of project proves that a different path is possible, even if it’s undoubtedly more difficult,” Laparelli concludes. “But it’s a necessary challenge.”
Opening image: © A. Bedini, A. Saletta | DSL Studio