Triennale Milano

XXIII TRIENNALE EXHIBITION/TIME CAPSULE

3

GROUP 24 Carmen Alfaro - Ningyuan Li Aida Navidbakhsh-Carlotta Pluda

Politecnico di Milano Msc in Architecture and Urban Design HISTORY OF CONTEMPORARY ARCHITECTURE Prof. Frank Hartmut Friedrich Gustav A.Y. 2019/2020 1

Index 01

WHAT IS TRIENNALE?/personal impressions

07

02

WHY IS TRIENNALE UNCOVENTIONAL?

29

03

triennale throughout the years

56

04

104

XXIII triennale/time capsule edition

2

“I believe we are at a time in society where open and honest communication is not only necessary, but revolutionary. When governments and political systems are no longer a reference point for progress, we look to other places, such as creative institutions, to facilitate that dialogue. Our aim is to change the definition of what it is to be a cultural centre; the Triennale will be a place of reflection and debate, connected with the contemporary culture in a dynamic way that offers new point of view on topics that lie at the very core of our global society.�

Stefano Boeri, President of Triennale

3

Back in 1923, the first international exhibition of decorative arts was held in Monza. In 2023, celebrating the 100th anniversary of this event, we are planning to held the XXIII Triennale “Time Capsule” recovering the most important objects, paintings, pavilions … which have taken part in Triennale’s history.

4

5

Design & art museum Located in Sempione Park Housed in Palazzo dell’Arte International exhibitions Since 1923 From Monza (Biennale) to Milan (Triennale)

6

what is triennale?

7

1923 - 2023

23rd TRIENNALE 100 years of history 8

9

WE WERE IMPRESSED BY ...

10

double height arch

transverse volume materials reddish clinker & light grey stone

ENTRANCE 11

"I believe that the bridge unites, also in a metaphorical sense; above all today I believe there is a need for tolerance, that we need bridges," says De Lucchi: the bridge is intended to unite 2 spaces but also 2 times, Giovanni Muzio's time in the past and the time of the new Triennale today.

12

ACCESS BRIDGE

2007

connection to the atrium wood + steel + glass

13

GIARDINO

play, enjoy, air, green, art, social, relax, breathe, see transition space Palazzo dell’arte & Sempione Park

14

“the mysterios baths fountain” Giorgio de Chirico

15

TORRE BRANCA

Gio Ponti, 1933

16

108.6 m high iron panoramic tower

Sempione Park

12

ketch

VERY

bserve

JOUR

triennal

rawing

DISCO

rchitectur

olour

esign

materials

istor

NEY light 17

which is the relationship between

18

triennale and milan?

19

TRAN ITION

Triennale as the

SPACE

between the city & Sempione Park

12 20

21

orthogon l

Castello Sforcesco Arco della Pace Arena & Triennale

axes

in Sempione Park 22

nature

blending with

23

green areas

Triennale inside Sempione Park

12 24

12

25

12

Triennale inside the city Triennale inside the city

buildings buildings

main & secondary roads

paths

26

27

28

why iS TRIENNALE-

UNCOnVENTIONAL? 29

HISTORY AND MISSION

30

1923.

THE FIRST INTERNATIONAL EXHIBITION OF DECORATIVE ARTS IS HELD IN MONZA.

31

1933.

THE TRIENNALE DI MILANO COMES TO LIFE IN THE NEW PALAZZO DELL’ARTE. The event is held every two years in the park of Monza’s Villa Reale, with the objective of stimulating the relationship between industry, art and society at large. Post war Italy looks to industry for an opportunity of renewed prosperity, and to creative design for the unifying element of its productions.

From its very beginning, the event is geared towards a unifying idea of all forms of art and creative expression, strictly linked to social evolution and economic development.

32

1936.

THE GREAT NAMES OF THE 20TH CENTURY. The desire to assert the unity of the arts manifested itself already in the V Triennale in 1936, with the mural paintings of great artists such as De Chirico, Sironi, Campigli and Carrà. This intense relationship between the Triennale di Milano and its artists grew in the following decades with exhibitions of the work of Fontana, Baj, Martini, Pomodoro, de Chirico, Burri and – more recently – Merz, Paolini and Pistoletto.

33

1951.

RECONSTRUCTION, DESIGN AND INDUSTRIAL DEVELOPMENT. In the immediate post war years the Triennale tackled the problem of reconstruction by promoting, with Piero Bottoni, the building of the experimental QT8 area, in Milan’s Monte Stella district. In the 50’s it also addressed the issue of industrial design, with shows dedicated to this specific sector. The phenomenon of Italian design evolved exactly at that time and was associated to the cult of all things Made in Italy, alongside the country’s industrial development.

34

1960.

EMERGENCE OF ECONOMIC AND SOCIAL PROBLEMS Then, starting in the 60’s, the Triennale had to face the problems linked to economic development and social transformation, producing exhibitions such as La casa e la scuola(Home and school) in 1960, Il tempo libero(Free time) in 1964, Le città del mondo e il futuro delle metropoli (World Cities and the future of the metropolis) in 1988, Identità e differenza (Identity and difference) in 1996.

35

2019.

What it is to be a cultural centre I believe we are at a time in society where open and honest communication is not only necessary, but revolutionary. When governments and political systems are no longer a reference point for progress, we look to other places, such as creative institutions, to facilitate that dialogue. Our aim is to change the definition of what it is to be a cultural centre; the Triennale will be a place of reflection and debate, connected with the contemporary culture in a dynamic way that offers new point of view on topics that lie at the very core of our global society.

Stefano Boeri, President 36

Development of Plan

37

Triennale Milano . 1940

38

Triennale Milano . 1954

39

Triennale Milano . 1973

40

Contrast (1951 and nowadays)

41

Space composition

42

43

44

45

46

47

48

development of Exhibition

49

Topic of Exihibition 1940

1954

1973

50

Way of Exihibition

Renovation of Inside

1940

1954

1973

51

Modern Exihibition layout

52

Social effect

53

The relationship

Use the sym-

between per-

bolic image of

ception, space

the flag to por-

and time.

tray a political landscape in an evocative way.

Self-irony and

<OTTO> is ec-

poetic lightness,

stasy: irreverent,

in the manner of

curious, destabi-

Pina.

lizing and moving.

A dazzling the-

Fargion mix

atrical language.

their idiosyncrasies with passion.

54

Whether for pub-

The infinite future

lic consumption

that the brand has.

or top-level design works.

Giving life to their

Creatively provides

â&#x20AC;&#x153;painted architec-

a space-saving

tural worksâ&#x20AC;?.

solution.

Topic in 2012:

Topic in 2016:

The dream factory.

Design and Women

55

TRIENNALE throughout

56

iTHE YEARS?

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99

100

e

101

102

103

why it had a bigger influence

104

in the past?

105

KEEPING UP WITH THE INTERNATIONAL TENDENCIES 106

107

International expositions helped the country to realize its need to create a moment in which knowledge and creativity could flow with NO BOUNDARIES

108

OFFICIAL

After 1968 there was a lack of officiality and public attendance

OFF-THE-RECORD 109

NEEDS AND TIMES HAVE CHANGED

110

111

3

100 YEARS AFTER THE FIRST TRIENNALE EXHIBITION THE AIM OF TIME-CAPSULE IS TO BRING BACK ALL THE PAST EXHIBITIONS IN ORDER TO UNDERSTAND WHAT THERE WAS BEFORE AND USE IT AS A STARTING POINT FOR NEW EXHIBITIONS. THIS IS IMPORTANT TO UNDERSTAND THAT 112

OFFICIAL EXHIBITIONS SHOULD NOT BE STUCK WITH THE OFFICIALITY OF THE EVENT BUT NEED TO FOLLOW NEW GENERATIONâ&#x20AC;&#x2122;S NEEDS AND EVOLVE WITH THE

PROGRESS. 113

1923

1. Vaso con Maiolica

2. Vaso con Maiolica

1925

3. A. Bucci Vaso in ceramica

1927

5. E.N.A.P.I. Toeletta

6. Treves, Bestetti Padiglione del Libro 114

11

4 2

16

3 1

14

115

1930

7. P.Bevilacqua Mobile

8. T. Buzzi Mobile da studio

1933

10. A.Pica Sedia

9. E.N.A.P.I Orologio

1936

11. L.Fontana Anima di ferro

12. M.Pagano Ingresso del Giardino 116

1940

13. F. Fariello Modello E42

14. H. Navarre Vaso in vetro

1947

16. P. Bottoni Modello QT8

15. L. Canella Sedia

1951

17. C. Pagani Poltrona

117

18. F. Nosengo Poltrona

1954

19. Bigatti Cesta in vimini e bicchieri

20. Arteluce Lampada

1957

22. A.Benetton Cespuglio

21. F. Poli Vasi

1960

23. Mostre temporanee.

Mostra delle opere dâ&#x20AC;&#x2122;arte inserite nellâ&#x20AC;&#x2122;architettura

118

24. 12. Salone dâ&#x20AC;&#x2122;onore. Mostra storica del piatto e della posata - Ernesto Nathan Rogers - Enrico Peressutti

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26

22

2 21

18

119

1964

25. Brion Vega, Marco Zanuso e Richard Sapper Apparecchio per filodiffusione e televisore portatile

26. De Gotzen Machinacaffè

1968

27. Lynn Chadwick Sculture piramidale

28. Alison e Perter Smithson Decorazione urbana

1973

29. Gruppo giapponese Le cinque scale 2

120

30. Carlo Mo Scultura in lamiera dâ&#x20AC;&#x2122;acciao

28

27

121

1976

31. Lo spazio audiovisivo Spazio reale-spazio virtuale Installazione Abitare e essere ovunque a casa propia

32. Secondo ciclo Spazio connettivo

1992

34. Georg Gerster La prospettiva a volo dâ&#x20AC;&#x2122;uccello

33. U. Boccioni Scultura

1996

35. Padiglione Italia - Edipo e la Sfinge, cimitero degli artisti e dei poeti 122

36. La Triennale nella cittĂ

31 29

32

34

123

124

sempione park

Triennale expands towards the park, recovering: sculptures, fountains, pavilions, bridges, tunnels, towers from previous exhibitions 12 125

12

6

126

30

33

127

128

1930. Casa Elettrica

1960. Scultura Viani

1957. Fabric Pavilion

129

1954. Geodesic Dome. FĂźller

1964. Plastic cover

1954. Labyrinth & kids. Rogers

130

1964. Iron bridge. Rossi, Meda

1968. Tunnel Pneu

131

1964. Roulotte

1933. Torre Littoria

1936. Fontana Monumentale