Following its initial experiences matured in the field of interior design in the early 1970s, Transit began its design activities towards more expansive, more diversified and highly innovative sectors.
These sectors dealt eminently with the study of systems within which architectural intervent concerns not only the physical and specific object, but also extends into an entity comparable to a network, distributed at the spatial and social level of a territory. Typical examples include systems of transport and circulation, or distribution and commerce, investigated in Transit's various projects. These include the design of modern architectural systems, at the national and international level, characterised by new, and in many cases experimental solutions.
In addition to these sectors, Transit also developed innovative interventions in the field of residential design, urban rehabilitation, the tertiary sector and important exhibitions. In the early 1980s the office introduced tnew criteria of quality within the characteristics of economic and socially assisted construction, based on the experience matured with previously tested realisations dedicated by Transit, one of the first to do so, to the deterioration of central and semi-central areas in the city and those aspects that, only apparently limited in scale, trigger effects of resonance capable of extending into a much vaster area of intervention than that defined by the design action itself.
No less important is the originality of the approach to the theme of tertiary-office space, through the definition of dimensionally controlled quantities ranging from the entire building to the single workstation, where design penetrates into even the most minute of elements.
While confronting metropolitan transport during a period when this issue was fundamentally ignored, Transit was one of the first to conceive an architectural language of connective spaces – true new urban plazas, conceived as the sum of specialised areas, with a capability to recover highly compromised adjacent urban fabrics.
Transit associated the rehabilitation of these spaces with a structural simplicity and a profound understanding of the most intimare aspects of the construction site, guaranteeing the concrete feasibility of the final architectural product.
While maintaining a level of coherence with the priciples of modernism, rationality and expression, charactetistics present throughout its history, over the course of the years Transit has been able to insert a constant evolution of language within its approach to design.
Innovative morphological solutions are accompanied by advanced technologies and a selection of materials free of restrictions imposed by local conditions. All pursued with the maximum respect for the traditions of the Italian building, proof tha even the past is an integral part of our contemporarary history.
Operative since the early 1970s, Studio Transit is a professional reality that qualifies the Roman context within the specific field of urban planning, architecture and design.
It partners are Giovanni Ascarelli (Founder), Alessandro Pistolesi (Sole Administrator), Roberto Becchetti, Manuela De Micheli and Sergio Vinci, all licensed wit the Ordine degli Architetti di Roma e Provincia. The office also works with numerous collaborators, both internal and external, in the field of engineering (structural and MEP).
The office's activity has developed over the years in fields that have touched on the most significant issues of the contemporary city, and in particular:
– lines of the Roman subway system, and their relative nodes of interchange, the most important of which include Ponte Mammolo and Laurentina: stations that have given form to parts of the city once obsolete and devoid of landmark structures;
– the system of distribution and commerce, with Studio Transit translating the most up to date and international typologies: Cinecittà 2, Gulliver, Commercity, Euroma 2 (the latter with Studio Purini-Thermes);
– office construction, a field in which the office has been involved since early 1980s, with numerous interventions of significant urban importance, including, in succession, the Valmelaina complex, the Laurentino Business Park, the headquarters of the Treasury Ministry's Casse of Previdenza in Tre Fontane (with Studio Passerelli), the Ministry of Health, the office tower for the Provincia di Roma, the new ATAC headquarters (the last three in Rome's Europarco);
– residential construction, where the office has been involved in the design of diverse structures of urban interest, from single-family dwellings to vast complexes. Evidence can be found in the villas in Casal Palocco and Formia, the Tiburtino-Sud towers, the complexes in Ottavia, Quartaccio and Ostuni (Brindisi), the large nucleus di Porta di Roma, and various locations through the Roman periphery (Prampolini, Mezzocammino, Parco Talenti, the new plans for Anagnina and Monte della Breccia);
– hospitality, including early tourist villages (in collaboration), with Ote-Insud and Valtur, and later with the development of the large complex of the Masseria Santa Lucia in Ostuni (Brindisi), the Hotel IBIS for the ACCOR chain in Magliana, the Grand Hotel Melia in Via di S.Onofrio, on the Gianiculum;
– urban redevelopment a field in which the office has developed diverse interventions, working also for the private sector. Also of interest are the projects for Piazza Dante, in the heart of the Esquiline neighbourhooh in Rome, Large Agnesi, overlooking the Coliseum and above the Colosseo subway station on the B line, and Piazza Giovanni XXIII in Manduria (Taranto);
– the renovation and trasformation of existing buildings, a highly innovative theme that has ivolved the office in the transformations of large real estate complexes in the EUR (Piazza dell'Agricoltura, Piazza Don Sturzo, Via Cesare Pavese) primarily for the high-end office space, or in other central or semi-central areas (Lungotevere degli Artigiani, Casal Bertone), for residential and mixed use, with additional services. These latter are the result of re-modelling of now obsolete former industrial volumes, as part of dedicated particulare plans;
– the restoration of 19th century buildings, and their transformation into a private structures, large residential projects or housing for the elderly. Similar projects include the large Villa in Martina Franca (Taranto) or the renovation of the Villa Portese for use as Home for the Elderly from the Roman Jewish Community;
– scholastic construction, the office developed a modular project, emphasised by large portals, used to circumscribe the classrooms and related services, exposing only the large volumes of the gymnasium and assembly halls. This system was used to construct nine schools, kindergartens, elementary and high schools in the periphery of the city;
– ecclesiastical construction, with the large Paternò complex, Studio Transit brought together the them of the representation of a civil and religious centre of great urban importance, complete with areas for study, meetings and sport. In the church of Atripalda, the office proposed, in this CEI pilot project developed as part of a Nationa Competion, an absolutely innovative typology, also in terms of its construction and materials. Finally, the open church in Ostuni is a particular project, organic with respect to the marine environment where it is situated, and the Mediterranean underbrush that characterises this territory;
– exhibitions and exhibition designs, of which we mention here the exhibitions in Buenos Aires in S. Paolo of Italian Industry (EFIM Group pavilion), the design of the exhibition for the 10th congress of UIL at the Palazzo del Cinema in Venice, the exhibition Roma città dell'informazione at the Palazzo dello Sport and, finally, the exhibition in Moscow and St. Petersburg, of contemporary Italian art. The most significant, in international terms, is undoubtedly the exhibition L'Economia Italiana tra le due guerre 1919-1939, the design of which involved the symbolic competition od a section of the Coliseum, with public winds winding through the second tier. This section, some 52 meters in height, realised in steel structure clad in white metal panels, was simply rested on removable bases, innocuos to this context of such enormous historical and archeological value.