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The idea was born from a challenge: to carry on the legacy handed down for centuries by the craftsmen of the Fabbrica del Duomo, reconciling the Cathedral’s maintenance needs with its architecture and monumental identity, allowing the monument to coexist with a construction site that, in the last century, has been perceived as an intrusion. Marcegaglia’s ability to produce sandwich panels with precise photographic printing led to the conception of a mimetic solution, reproducing a high-resolution orthophoto of the façade. The management of the design aspects, the availability for sampling, and the sustainability, durability, and recyclability of the chosen product, Cromatica, were decisive factors in sharing the solution with the Cultural Heritage Office for Archaeology, Fine Arts and Landscape.
The project, thanks to Cromatica, which allows the exact reproduction of the architectural element, integrates harmoniously into the historic context of one of the world’s most famous sites: Milan’s Piazza del Duomo. It reduces the visual and environmental impact of a long-lasting construction site. The panels accurately reproduce the marble detail, preserving the monument’s identity, while the choice of a fully recyclable material reflects a green approach. The Duomo, the symbol of the city, sees operational spaces and scaffolding almost invisible, concealed beneath an image that conveys continuity and respect for the urban, spiritual and artistic identity.
Cromatica steel was chosen for its ability to combine sustainability, 100% recyclability, and renewability even in small portions, embodying the principles of a circular economy. Its precise photographic printing minimizes visual impact next to a masterpiece like Milan Cathedral, while resistance to weather and vandalism ensures long-term durability. A solution that merges innovation, sustainability, and performance, providing what other materials simply could not offer.
The project highlighted sustainability using fully recyclable Cromatica steel, ideal for a circular economy. High-precision digital coil printing reproduces architectural elements with minimal impact in historic sites like Milan Cathedral. Cromatica, an advanced ink-jet coating with UV-curing organic and inorganic inks, is applied continuously onto steel coils and paired with high-performance foam panels, ensuring long-lasting durability and aesthetic integrity even in harsh outdoor conditions. The system combines performance, beauty, and sustainability, earning awards including the Compasso d’Oro selection, “Best Communication Booth” at Made in Steel, the Material Award at Made Expo and "MADE Award 2021" for the 'Digital Technology' category.
The strengths of the project lie in its ability to combine sustainability, innovation, and respect for the historic context, while delivering high aesthetic quality. The large volume to be covered required cutting-edge technological solutions: only Cromatica, with high-precision digital coil printing and industrial-scale production, made it possible to faithfully reproduce architectural elements, minimizing the visual impact of a long-lasting construction site. The chosen steel is fully recyclable, renewable even in small portions, and ideal for a circular economy. Resistant to weather, climate changes, and vandalism, it ensures long-term durability and reliability. The panels can be easily replaced without redoing the entire intervention, merging technical performance, aesthetic value, and sustainability. The possibility of producing small-scale samples also allowed precise verification by the Cultural Heritage Office for Archaeology, Fine Arts and Landscape, ensuring accuracy at every stage.
Francesco Canali studied Engineering in Bologna under Piero Pozzati. Since 1993 he has collaborated with Canali Associati, focusing on construction’s technical aspects, and since 1998 has been Technical Director. From 1998 to 2004 he led the restoration and reuse of Santa Maria della Scala in Siena (35,000 sqm, €40M), overseeing consolidations and coordination among clients, designers, and contractors. Since 2014 he has been Director of the Construction Sites of Milan Cathedral and the Candoglia Quarry, managing about 100 specialized workers and external firms for continuous restoration. Since 2017 he has chaired the Prefectural Commission for the Cathedral’s Structural Safety. He was Project Manager for the “New Uffizi” (2018–2019) and has managed projects for Prada, the Royal Palace of Milan, the Castle of Piagnaro, the former Tobacco Factory, and key restorations of the Cathedral’s Pinnacles and Tiburio.
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