Paris-based Italian architect Silvio d'Ascia conceived Turin's Porta Susa High-Speed Train Station as a new urban crossroads. In so doing, he hoped to help suture the long-standing rift that the railroad had created between the city's disparate halves. The building's glazed, vaulted main concourse also evokes both the traditional iron-and-glass sheds of railroad terminals and the glass-roofed commercial galleries of northern Italian cities (most notably, Milan's Galleria Vittorio Emanuele II, although Turin boasts a couple of its own). D'Ascia hoped to emulate such spaces—which were a key reference for the Italian Tendenza movement, when he was a student in Naples in the 1980s—while remaining thoroughly contemporary, he says, but “without any trace of postmodernism.”
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