MILAN

On your personal tour of Milan, you will have to make a comparison or parallel between two Milanese buildings of the twentieth
century. (Example not to be given: Pirelli skyscraper and the Velasca Tower), I study and visit them with the books of the bibliography
and books that you read, making a comparative speech. Twentieth-century buildings indicating the bibliography on which you studied.

The rationalist masterpiece, the Palazzo dell'Arengario. Designed by architects Portaluppi, Muzio, and Magistretti, this building
stands as a testament to the Fascist era's architectural vision. It reflects the rationalist movement, characterized by geometric
shapes, smooth surfaces, and an emphasis on functionality. The symmetry and precision in its design showcase the influence of
Rationalism in Milanese architecture during the early 20th century.

The Torre Velasca, unlike the Palazzo dell'Arengario, the Velasca Tower embodies a different architectural approach, showcasing a
mix of modern and historical design elements. It was designed by BBPR, a group of four architects who aimed to break away from
the prevalent International Style and embrace a more local, contextual architecture. The tower's distinctive mushroom-like shape
and the use of alternating light and dark blocks give it a unique identity that defies the uniformity of the surrounding modern
structures.

Both buildings, though from the same century, represent divergent architectural ideologies and styles prevalent in Milan during their
construction. The Palazzo dell'Arengario embodies the rationalist movement's pursuit of functional, geometric purity, while the
Velasca Tower stands as a symbol of an architectural rebellion, blending modernity with a contextual and historical design
approach.

Milan in the twentieth century was a laboratory for modern architecture, in Italy, it functioned as a nerve center in the development
of a specific contemporary architecture.

Milan is the most Italian thing in Italy.Justification I am from Milan —Gio Ponti

In recent years there have been significant buildings that have refounded and renewed the
Milanese skyline, Fondazione Prada was renovated into an exhibition center, with a pre-existing
part and parts nourished from scratch in a foundation of the Milanese suburbs. Bocconi
campus was built by the Japanese, a cluster of round or amoeba buildings, the Feltrinelli
Foundation of the Swiss, following the route of the old city walls, has created this new bastion
with the archetypical gabled shape, with an urban scale that goes beyond the single building.
Or city, now aged, the 2004 project and the skyscrapers by Zaha Hadid and Libeskind. Grafton
architects completed one of the most interesting buildings in Milan in the 11th century with a
new campus at Bocconi University, the area of the Garibaldi Republic, the Vertical Forest.

1871 proclamation of the Kingdom of Italy, in Milano with the arch of Cagnola, a neoclassical monument that is erected and symbolizes a
neoclassical season of the city.

Initially, the birth of the new Italian nation sparked significant urban transformations compared to the medieval core of Milan. The
historical center, characterized by narrow streets and an unstructured layout, featured the imposing bulk of the cathedral, engaging
in a dialogue with the diverse public spaces. At this time, what we now recognize as Cathedral Square did not exist. Instead, the
square of the Royal Palace marked an open, unoccupied space known as Urnano.

This era witnessed the inception of modernization projects, introducing novel public spaces such as Cathedral Square and other
significant landmarks, notably the Galleria Vittorio Emanuele in 1865. Iron architecture became a prevalent theme, evident in the
neo-Renaissance arches overlooking Cathedral Square and the modern iron-and-glass gallery, representing the new passages of a
contemporary Milan.

The 20th century brought the Beruto Plan, named after the engineer who, inspired by Haussmann's work in Paris or Vienna, devised
a radial-circular layout for Milan. The Cathedral and the Castle were the central cardinal points in this plan, leading to the expansion
of the city with the construction of the first and second walls beyond the fortifications. The 1884 master plan delineated the city's
core in grey, encircling it with the ring road along the Spanish walls, while the pink area marked the city's new extension. Sempione
Park was initially proposed for new residences but eventually materialized, contributing to the rationalization of this expanded zone
with strategically designed outward roads.

This late 19th-century urban design remains the foundational structure of Milan's cityscape today. Significant urban developments
took place, such as Via Dante dividing the city center and the extension of large radial axes into the suburbs, fostering more
breathing space for new urban growth.
Several visionary but unrealized projects exemplify an urban planning approach that envisioned a new scale and dimension for
Milan. One such surreal concept was the idea of a Boulevard or highway leading from the city center outwards, symbolizing a bold
aspiration for the city's expansion and connectivity.

The visionary aspiration for mobility and urban development between Milan and Monza envisioned futuristic traffic and walkways. Sant'Elia, through

his drawings, conceptualized a metropolis on an unprecedented scale where buildings seamlessly intertwined with infrastructure, marking a new era

where the city was concentrated into a unified entity.

Boccioni's painting titled "The City Rises" serves as a powerful manifesto encapsulating this Futurist sentiment. The artwork embodies the dynamic

energy of a city in perpetual motion, depicted with a wild horse and construction sites ascending. This piece reflects the essence of a certain

modernity that characterized the most vibrant and dynamic city in Italy during St. Elijah's time in 1906.

This period also saw a significant international expansion marked by the opening of the Simplon, signifying a moment of famed progress and wider

connectivity.

-Old and knew languages-

Throughout the 20th century, there existed a rich interplay and fusion of diverse architectural styles and ideologies, particularly in

exploring the connection between modernity and tradition, as previously discussed in reference to representatives like Khan. Early

in the century, a distinct image emerged, featuring a bank designed in Italian style juxtaposed with a staircase. The façade boasted

classic elements, adorned with monumental orders.

As the century unfolded, a surge of modern buildings arose, including the captivating Art Nouveau movement. Notably, the era

produced architectural gems like Palazzo Castiglioni di Sommaruga, a testament to Milanese liberty. Embracing an international

perspective, this style marked a departure from classical architecture, emphasizing a departure from looking solely to the past. It

drew inspiration from organic, natural shapes, often employing Michelangelo's unfinished elements that appeared to emerge from

an unformed nature.

Within, there's an amalgamation of influences, blending Asian-Babylonian references, classical motifs, and an eclectic fusion

reminiscent of the art nouveau movement. This convergence reflects a yearning for a comprehensive and unified artistic creation,

capturing the essence of the concept of a total work of art.

The Carlo Carrà station in Milan represents a compelling blend of the city's history and its forward-looking aspirations. Designed by

Ulisse Stacchini in 1906, the station stands as a curious amalgamation, commencing its existence in a seemingly anachronistic

architectural style and persisting until after the Second World War. Stacchini envisioned a massive architectural edifice inspired by

Assyrian-Babylonian aesthetics, reinterpreted on a monumental scale, diverging from classical norms and drawing from various

cultural influences.

This colossal structure initially emerged in an era that echoed late 19th-century cultural sentiments, in contrast to the fervent

modernity prevalent in the burgeoning galleries. Noteworthy are the ingenious and remarkable structural feats of metal arches,

illustrating the incredible engineering prowess of the time. Pier Luigi Nervi, among many others, used the duration of Milan's

existence as an exemplary dichotomy, illustrating a city divided between elements of the past and the burgeoning modernity, where

the structural framework takes center stage as the protagonist.

Modernity and tradition converge within the inception of the Domus and Casabella magazines in 1928. During that time, these

publications served as vital communication channels not only amongst architects but also addressed the wider public and builders.
Gio Ponti, the director of Domus, showcased an intriguing architectural approach through structures like the Fausta and Julia

houses in 1931. In this period, iconic buildings such as the Villa Savoye were constructed while the Bauhaus movement was in its

concluding phase. Ponti's architecture exhibited a striking duality: a profoundly modern essence featuring reinforced structures and

windows oriented towards natural light, coupled with a deliberate reduction in decorative elements. The absence of ornate friezes

and pilasters created a stark contrast, yet within this modernity resided an implicit nod to a neoclassical equilibrium. Ponti's

modernity bore echoes of a classical architectural legacy deeply rooted in Italy's ancient geographic heritage, further emphasized

by the Latin nomenclature that pays homage to Rome.

Architectural compositions in Ponti's works, such as the House in Via Domenichino, resonated with a modern flair yet subtly evoked

the classical language of architecture, albeit stripped down to its essential elements: the base, shaft, and crown. The Baldachin

geese perched at the corner accentuated the unique and defining features of his creations.

Another significant edifice, the Palazzo dell'Arte of the Milan Triennale, crafted by Giovanni Muzio, exists in a realm suspended

between diverse realms – traversing modernity and tradition. This grand structure overlooking Simplon Park emanates the

semblance of both a temple and a modern factory. Serving as an institution hosting art and architectural exhibitions, the Palazzo

dell'Arte portrays an architectural language that is simultaneously classical and forward-looking.

The building’s purified classical language is evident in the expansive entrance portal, resembling a 'liana,' featuring a central opening

flanked by divided side openings. This stylistic reference echoes the Palladian Basilica of Vicenza, characterized by an orderly

arrangement of pillars along a brick body. Its multifunctional nature melds the ancient with the modern, presenting a mosaic that

encapsulates the city's rich heritage and contemporary aspirations.

Giovanni Muzio's creation, the Cà Brutta, earned its moniker from the Milanese, who didn't quite embrace this palace. The

architectural intervention is centered around a structure featuring a courtyard nestled within and a bold façade that stands adjacent

to Via della Moscova. The building, constructed with reinforced concrete, exudes a distinctly modern character while cleverly

integrating classical elements, evident in the deployment of full arches and an unconventional system of architectural

ornamentation. This interpretative freedom and imaginative expression diverge unapologetically from the norms of neoclassical

architecture, forming a unique and inventive style, best epitomized by the Serliana—a classic motif reimagined in a modern context.

It's a testament to a city in ascension, embodying a futuristic impulse and a sense of modernity that resonates with Le Corbusier's

ideologies. Simultaneously, there exists an alternative perspective on modernity: a reflection on the past as seen in the dichotomy

between Giorgio de Chirico's "The Enigma of the Arrival and the Afternoon," where one witnesses the bustling motion of a city

alongside the stillness depicted in the artist's work, observing in the distance the modernity symbolized by a snorting locomotive.

The initial Montecatini building stands opposite the Cà Brutta, a more Rationalist-styled structure. Gio Ponti skillfully distilled this building into an
interplay of solids and voids. Comprising two wings and a central courtyard, slats on both sides delineate a primary court in front and a service
courtyard behind. The design emphasizes a reduction of volumes into pure geometrical shapes, adorned with generously sized windows
positioned at the outer edges, manifesting a rational architectural concept. Additionally, the use of stone for the facade reversals exudes a
blend of modernity and tradition, employing a noble material that establishes a connection with the surroundings, underscored by the facade's
abstract nature and its textured stone play.

Luigi Figini, drawing inspiration from Le Corbusier's Villa Savoye, crafted a house demonstrating subtle architectural reinterpretation. The
pilotis—supporting columns—are square in plan and notably taller, while the fenestration showcases a distinctive absence of lintels. Enclosing
the structure is an outer shell encompassing an inner space, within which lies the actual living area—a reimagination of modernity.

Notably, Gio Ponti himself contributed to the architectural landscape with Casa Laporte in a more peripheral location, reflecting a graphic layout
reminiscent of Bauhaus principles. However, this plan didn't materialize due to a comprehensive rationalization initiative aimed at aligning all
blocks according to the solar thermal axis, popularly termed as "Green Milan." The proposed concept aimed to concentrate multiple slats,
although it remained unrealized due to urban reorganization constraints.
Transitioning to the post-World War II period, significant architectural masterpieces emerged. In 1945, the city lay in disarray following the
extensive bombings of 1943, impacting crucial institutions such as Brera, major hospitals, and the iconic La Scala in Milan. The city faced an
imperative need for reconstruction, setting the stage for a compelling period of urban reimagining.

One notable development was the experimental district known as QT8, or Experimental Quarter 8, designed to articulate the principles of a
rationalist and modern neighborhood. The Unité d'Habitation, an Italian interpretation, along with single-family houses conceived by the then
twenty-six-year-old Vico Magistretti, were part of this initiative. Magistretti's design featured small houses with gardens, catering to war
veterans, where a blend of rationalist systems and traditional roofing techniques converged, creating a harmonious architectural blend.

Among these innovations, a modern church stood out, holding an air of timelessness akin to an ancient baptistery—a structure characterized by
its pure and unadorned form. This period heralded a compelling fusion of modernist approaches with a respectful nod to tradition, encapsulating
the spirit of a city in the process of renewal.

Milano Fondazione Prada

Milano Bacconi Campus

Milano Fondazione Feltrinelli

Milano,Citylife (rendering)

Grafton Architetcs, Bacconi

Milano, Garibaldi Repubblica

1871, Proclamation of the Kingdom of Italy

The structure of the city

Opening of piazza della Scala 1858
Giuseppe Mengoni, Galleria Vittorio Emanuele II, 1865-1877
Giuseppe MEngoni, Project for Piazza del Duomo
Milano, 1542

Loose mesh grid of radical and annular streets stretched along a uniformly wide ribbon
Encircling the city center.
Cohesion between inner and outer city.
Functionality, flexibility of blocks .
Problems: tendence towards single center city development without properly
Managing the rapid urban expansion.

Via Dante in 1886 and 1930s

E,. Belloni M Stroppa il corso d iTalia a Milano 1907

Pavia-Masera Plan (by Angelo Pavia and Giovanni Masera, engineers), 1910 (approved 1912)
The modest expansion of the Beruto plan (approx. 22 sq. km), put paid to all hopes of a relashionshipo between the city center and its
surrounding area.
Imporlance of arterial road axes
Inability to
understand the complexity of the relationship between cities and their surrounding areas beyond a purely quantitative growth.
(E. Belloni's project is a proof of such an approach)

Sant Elia

The city that raises

Umberto Baccioni 1910-1911 La citta che sale

Antonio san Elia Casamento with external elevators, gallery covered passage on three floors

Uno stile italiano

Luca Beltrami Banca Commerciale Italiana in piazza della scala 1905-1911
GIuseppe Sommaruga, Palazzo Castiglioni, 1901-1904

Ulisee Stcchini, Stazione Centrale, MIlano (1906) 1930-1931

Traditional Modernities

(book- domus l arte nella casa, direttore Gio Ponti)

Gio Ponti, Domus Carola Fausta e JUlia in via De Togni, 1931

Casa in via Domenichino ,1928

Giovanni Muzio Palazzo dell Arte Milano 1932-33

GIovanni Muzio Ca Brutta 1919-1923

Neoclassic style (decorations)
Primo Pallazo Montecatini Milano 1936-38 Gio Ponti

Primo Montecatinii on the left and on the right is the Secondo Montecatini

Luigi Figini Casa al Villaggio dei Giornalisti, Milano 1936.

Gio Ponti Casa Laporte

Rebuild

Economia politica industria

Piero Bottoni Quartiere sperimentale QT8
Triennale Ottava

Vico Magistretti Paolo Chessa MArio Tedeschi case per i reduci al QT8 1946

Vico Magistretti Paolo Chessa MArio Tedeschi case per i reduci al QT8 1946

Towards the Miracle

From the arduous times of reconstruction and scarce resources, Italy experienced the pinnacle of its economic miracle in the
1950s, notably in 1958-1959. A surge of construction defined a burgeoning city, particularly around the station where the tertiary
sector flourished.

Amidst this era, two iconic structures emerged—Pirelli and the Velasca Tower—both significant declarations of contemporary
architecture. Pirelli, adjacent to the Velasca Tower, embodied an international identity blended with original reinterpretations
manifest in its bridges and sinews. In contrast, the Velasca Tower, created by the BBPR studio under Ernesto Nathan Rogers'
vision, aimed to engage in dialogue with Milan's Gothic and medieval architectural traditions. Its mushroom-like design and
widened structure served as modern buttresses engaging in a conversation with Milan Cathedral's architecture. This tower stood as
an invention representing an architectural context of the past in a modern setting, referencing a Gothic tradition absent in the area,
thus re-establishing an architectural legacy.

Distinguishing the two landmarks: Pirelli skyscraper adhered to a fixed module, standardizing its design based on individual desks,
while the Velasca Tower embraced irregular window placement, evoking disorder and spontaneity characteristic of Italian historic
centers. The theory of environmental pre-existence sought connection with the pre-existing surroundings, yielding distinct
architectural outcomes in different locations. The Velasca Tower's initial designs, considering glass and steel, were deemed costly,
sparking debates between an international-style structure and one seeking a dialogue with Milan's specificity, denoted even in its
pink hue reminiscent of Milanese brick architecture.

In architectural design, Vico Magistretti embraced the past as a companion. Much like designing a chair for a restaurant, Magistretti
referenced a traditional chair, infusing it with modernity through alterations like the joint knot or the vibrant red paint reminiscent of
children's toys. This rethinking of past elements to infuse modernity sparked debates around whether architecture should solely
advance or look back. Critics like Banham accused architects, including Rogers and Magistretti, of regressing from modern
architecture, labeling the Velasca Tower as neo-liberty. This sparked heated debates on the direction architecture should
take—whether it should stride forward or draw from historical elements.

The vast enclosure of the former major hospital, initially designed in the 15th century to serve the city's medical needs,
encompassed a layout of a large main courtyard and two intersecting crosses that delineated four courtyards within. A structure
that resonated with the Tuscan Renaissance blended intricately with the skills of Lombard artisans, housed various installations
over time.

Ravaged by bombings in the 1940s, a substantial portion of the structure lay in ruins. However, a consortium of designers
envisioned its revival, transforming the once hospital into the University of Milan. Among these architects, Liliana Grassi played a
pivotal role, delving deep into the extensive restoration and creative recovery of historical memory.
The restoration work, carried out across the 19th century, involved both renovation and reconstruction, particularly evident in the
new main entrance leading to the central hall. This newer architectural addition, conceived in the 1950s and 60s, introduced distinct
materials and window designs, showcasing a more detailed and philologically attuned restoration process. Meticulously cataloging
and reassembling the decorative elements of the courtyard became a central focus of the restoration efforts.

Contrasts

Luigi Moretti's architectural creation stands out as a deliberate contrast to the established urban fabric. Positioned on a crucial street within
Milan's center, Moretti was tasked with designing a multifunctional building—serving as a blend of offices, residences, and workshops. It
presented a complex challenge that Moretti navigated by venturing into a new design realm.

The building comprises four blocks arranged in an unconventional manner, deliberately deviating from the traditional urban layout. Particularly
daring is the element resembling a stranded ship, purposefully contrasting the neighboring 19th-century structures. One section of the building
is notably devoid of extensive openings, while at the rear of the complex, a distinctive cut resembles the form of a fountain, evoking an artistic
architectural relationship.

This period marked a significant collaboration between artists and architects, with luminaries like Lucio Fontana engaging in projects defining
modern Milan. Notably, the Harlequin Cinema and Fontana's Battaglia stood as prime examples of this interplay between art and architectural
design, showcasing a harmonious alliance between creativity and construction.

Centro Direzione di Milano

Grattacielo Pirelli 1960 with aluminium , international, originality of POnti and Nervi

Superleggera, Cassina 1955 Gio Ponti

Torre Velasca

Those who face, today, a creative problem must insert their thought into the objective reality that, from time to time, presents itself
to its interpretation, therefore they will not draw a construction in Milan equal to the one they would have studied for Brazil, and,
indeed, in every street of Milan, will try to build a building appropriate to the circumstantiated reasons. (...)

A construction in Milan will be different if it has to be used for offices rather than for housing - it is natural - but even if it will be in
one piece of land or another, close to certain pre-existing buildings or others.!

-Ernesto N. Rogers

-Vico Magistretti Sedia Carimate, 1963

Redesign of a traditional peasant chair

Beech wood structure, straw seat.
Aniline painting
red
Obtains patent for joint design
between the vertical upright, slightly enlarged to respond to greater load stresses,
and for the connection between the armrests and the backrest

Ernesto N Rogers 1909-1969

Reyner Banham 1922-1988

"The recovery of spatial and numeral values ​is not to be understood as a mechanical 'revival'... but as a creative recovery of
historical memory, achieved through an impalpable relationship between the foundations that illuminate design research and the
data of tradition".
-Liliana Grassi
Innesti/ Grafts

Pellegrino Tibaldi, Abside della Chiesa di San Fedele 1569

Vico Magistretti Casa e cinematografo via San Gregorio Milano –masterpiece /capolavoro

Vico Magistretti, House and cinema, via San Gregorio, Milan, 1956-58 (photo by Pino Musi)
"Le Corbusier tortures the openings by lengthening them
exaggeratedly in the sense
vertical or
horizontal"
"There
horizontal window is not a window"....
" There
sentence to a
"perpetual panorama"
–Auguste Perret

Luigi Morettu Edificio in corso Italia 1949-1955

Fontana ha curvato un fulmine Gio Ponti

Fountain cured lightning