Rogers Stirk Harbour + Partners and local architects DA.Studio designed a new town centre in Italy. Nuovo Centro Civico is located halfway between Casellina and the old town of Scandicci. The project is part of a wider urban plan commissioned by the Scandicci Council in 2003 and will transform the area from a remote satellite town into a renewed city hub.

Memory of project

A series of buildings and a new tram line – connecting the town to the centre of Florence – have been built around a public piazza, focusing a series of activities from public to private, for the whole community.

The new development at Scandicci is characterised by buildings that respect the scale of their surroundings and create a contemporary architectural language, that gives cohesion between all the different typologies, whilst responding to their individual functions. The result is a restrained architectural aesthetic that directs attention towards the setting rather than the buildings themselves.

The choice of materials was fundamental to the process of creating an ensemble of buildings. A limited palette was selected for all buildings, including natural anodized aluminium, concrete, glass, stainless steel and terracotta. Terracotta has been used as a building material in Tuscany for centuries and so the new project continues this tradition in a contemporary way. The red tone of the terracotta, framed by natural anodized aluminium and inset within visibly expressed concrete frame, creates a language that places the traditional local materials in a new, fresh setting.

The mix of buildings that have been designed as part of the project include a cultural centre, a commercial building and residences. The cultural centre frames the eastern edge of the piazza and provides a multi-functional hall for seminars, conferences, exhibitions and concerts. It is designed for and operated by the local council and offers completely flexible spaces inside, allowing for future adaptation. It can work both independently or in tandem with the piazza outside to stimulate ideas about public activity.

The commercial building is also fully adaptable inside and can therefore be used as open plan office space or divided into smaller, cellular units. As the tallest structure in the new ensemble, it acts as a marker on the horizon, directing people tocentre of the renewed Scandicci.

Adopting a modular approach, the design for the residential building allowed for changes to the layout configuration of the flats, even during construction, therefore catering for changing market conditions.

The tramline that connects Scandicci to the centre of Florence in a just few stops is the key element towards urban integration. Creating such transport links encourages development and growth, while simultaneously limiting the dependance on cars and discouraging suburban sprawl.

The project adopts a sustainable approach by including the installation of solar and photo-voltaic elements, as well as a green roof on the cultural building. The landscape concept with its linear arrangement of trees and benches alongside the tramline helps to unite the development, including the new parking area.


Text.- Rogers Stirk Harbour + Partners

CREDITS

Architects.- Rogers Stirk Harbour + Partners.
Local Architect.- DA.Studio.
Project Manager.- Federica Barni.
Structures & Services.- Politecnica.
Landscape Architect.- Erika Skabar.
Quantity Surveyor.- Studio Associato Zingoni.
Client.- Scandicci Centro Srl.
Contractor.- CMSA Società Cooperativa.
Cost.- €33.8 million.
Site area.- 26,000 m².
Built area.- 15,500 m².
Dates.- 2008 - 2013.

Location.- Scandicci, Italy.

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Richard Rogers. (Florence, July 23, 1933 – London, December 18, 2021) was a central figure in international architecture from the late twentieth to the early twenty-first century, widely recognized for his role in consolidating high-tech architecture and for his sustained engagement with urban debate. Born in Italy to a British family, he moved to the United Kingdom as a child during the Second World War. This early experience of displacement would later inform his sensitivity to the social and urban issues that permeated his work. He was educated at the Architectural Association in London, a key institution in the renewal of architectural thought, and later continued his studies at Yale University, where he encountered other architects who would go on to achieve international prominence.

In 1977, he founded his own practice, initially known as Richard Rogers Partnership, which later evolved into Rogers Stirk Harbour + Partners. From this professional platform, he developed an approach characterized by technical innovation, constructive clarity, and a strong commitment to making visible the systems that shape a building. His architecture is distinguished by the externalization of structural and service elements, understood not only as functional solutions but as an essential part of architectural expression.

Among his most influential works is the Centre Pompidou in Paris, designed in collaboration with Renzo Piano, which represented a radical break from conventional architectural languages and redefined the role of the cultural building within the city. Likewise, the Lloyd’s building in London stands as another paradigmatic example of his approach, where technology and programmatic flexibility are integrated into a proposal that challenges traditional typologies.

Throughout his career, he received numerous distinctions, including the Pritzker Prize in 2007, widely regarded as architecture’s highest honor, the RIBA Gold Medal in 1985, and the Golden Lion for Lifetime Achievement at the Venice Biennale in 2006. He was knighted in 1991 and was later appointed a Member of the Order of the Companions of Honour in 2008, in recognition of both his professional work and his contribution to urban thought.

Beyond his built work, Rogers played an active role in shaping urban policy, particularly in the United Kingdom. He chaired the Urban Task Force in the late 1990s, promoting strategies for the regeneration of British cities based on models of compact, diverse, and sustainable urban development. His vision emphasized the importance of public space as a structuring element of urban life, as well as the need to integrate environmental criteria into urban growth.

His legacy extends beyond a body of iconic buildings to encompass a broader understanding of architecture as a discipline deeply connected to society, politics, and the environment. Through his work, Rogers helped redefine both professional practice and the role of the architect in shaping the contemporary city.

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Published on: December 21, 2013
Cite:
metalocus, SARA REBOLLO
"Rogers designs Scandicci New Centre" METALOCUS. Accessed
<https://www.metalocus.es/en/news/rogers-designs-scandicci-new-centre> ISSN 1139-6415
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