Beautiful Corners, milanese cliff notes.

BE AUTIF UL C ORNERS Milanese cliff notes

Ilaria Donadel 943286 History and Theory of contemporary architecture final panels P r o f e s s o r F u l v i o I r a c e , t u t o r Va l e n t i n a M a r c h e t t i A.A. 2020

Loi M.C. (2012). Giulio Minoletti e Milano. Retrieved June, 06, 2020 from https://www.ordinearchitetti.mi.it/it/mappe/ itinerario/35-giulio-minoletti-e-milano/saggio

Leoni M.M. (2014). Uffici della Chase Manhattan Bank.

Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/architetture900/schede/p4010-00200/

Berté P., & Buzzi Ceriani F., & Canella G., & Fiori L., & Gambirasio G., & Gregotti V., et al. (1994). L’Architettura di Giovanni Muzio. Milano: Abitare Segesta.

Novati M. (2012). Isolato tra Via Albricci e Piazza Velasca.

Retrieved June, 06, 2020 from https://www.ordinearchitetti. mi.it/it/mappe/itinerari/edificio/465-isolato-tra-via-albricci-e-piazza-velasca/44-asnago-e-vender

Burckhardt M. (2015). Il Cen­t ro Sviz­z e­r o di Mi­l a­n o – in­t er­ ven­t i dal 1998. Retrieved June, 06, 2020 from https://www. espazium.ch/it/attualita/il-centro-svizzero-di-milano-interventi-dal-1998

Polini G. (2012). Edificio per abitazioni e uffici. Retrieved June, 06, 2020 from https://www.ordinearchitetti.mi.it/it/ mappe/itinerari/edificio/502-edificio-per-abitazioni-e-uffici/42-figini-e-pollini

Floridi G., & Lunati A. (2015). Hotel in Piazza Duca d’Aosta. Retrieved June, 06, 2020 from http://onsitestudio.it/hotel-in-piazza-duca-daosta/#p.485.

Project%C2%A0%C2%A0%C2%A0%C2%A0Hotel%20 in%20Piazza%20Duca%20d’Aosta%20-%20Onsite

Fanelli G., & Gargiani R. (2005). Storia dell’architettura contemporanea. (6th ed., 1st ed. 1998) Roma-Bari: Laterza.

Biraghi M. (2008) Storia dell’architettura contemporanea II. Torino: Einaudi.

M. Biraghi M.,& Lo Ricco G.,& Micheli S. (2013). Guida all’architettura di Milano. Milano: Hoepli.

Bassoli N., & Zucchi C. (2014). Innesti/Grafting. Milan.

Laboratory of modernity (Vol.2). Venezia: Marsilio.

WEB-SITE SOURCES

Garnerone D. (2005). Palazzo Via Albricci 10. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/ architetture/schede/3m080-00024/ Leoni M. (2009) Palazzi Montecatini. Retrieved June, 06, 2020 from https.://www.ordinearchitetti.mi.it/it/mappe/itinerari/edificio/579-palazzi-montecatini/46-gio-ponti Poli S. (2010). Centro Svizzero. Retrieved June, 06, 2020 from https://www.ordinearchitetti.mi.it/it/mappe/itinerari/ edificio/378-centro-svizzero/17-milano-alta Camponogara C. (2012). Palazzo Montedoria. Retrieved June, 06, 2020 from https://www.ordinearchitetti.mi.it/it/mappe/itinerari/edificio/592-palazzo-montedoria/6-la-milano-di-vetro

Brambilla P. (2013). Uffici Chase Manhattan Bank. Retrieved June, 06, 2020 from https://www.ordinearchitetti.mi.it/ it/mappe/itinerari/edificio/727-uffici-chase-manhattan-bank/28-lo-studio-bbpr-e-milano Capitanucci M.V. (2013). Edificio per abitazioni, uffici, negozi. Retrieved June, 06, 2020 from https://www.ordinearchitetti.mi.it/it/mappe/itinerari/edificio/451-edificio-per-abitazioni-uffici-e-negozi/9-il-professionismo-colto-nel-dopoguerra Leoni M.M. (2014). Palazzo Montedoria. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/architetture900/schede/p4010-00251/ Leoni M.M. (2014). Secondo Palazzo Montecatini. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/ architetture900/schede/p4010-00184/ Leoni M.M. (2014). Torre Turati. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/architetture900/ schede/p4010-00238/

Leoni M.M. (2015). Centro culturale Svizzero. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/ architetture900/schede/p4010-00206/ Leoni M.M. (2015). Condominio in Via Turati 7. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/ architetture900/schede/p4010-00215/ Leoni M.M. (2015). Edificio polifunzionale in via San Raffaele 6. Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/architetture900/schede/p4010-00463/ Leoni M.M. (2015). Grattacielo della Terrazza Martini.

Retrieved June, 06, 2020 from http://www.lombardiabeniculturali.it/architetture900/schede/p4010-00330/ Gioli A., & De Leva F. (2017). Palazzo di fuoco.

Retrieved June, 06, 2020 from http://www.gbpaarchitects. com/architecture/palazzo-di-fuoco-0327/

Beautiful corners-Beautiful corners-Beautiful corners-Beautiful corners

BIBLIOGRAPHY

Bottoni P. (1954). Antologia di edifici moderni in Milano.

Milano: Editoriale Domus.

The second post war period had been crucial for the reconstruction of the bombed Milan. Architects, artists and engeneers, heirs to the Modern Movement heritage make themselves spokesmen for an urban renewal based on sperimentation, expressive freedom, embodying the positive attidute expressed by Alberto Savinio: “ Giro tra le rovine di Milano, perchè quest’esaltazione in me? Dovrei essere triste e invece sono pieno di gioia. Perchè? Sento che da questa morte nascerà nuova vita.” (Savinio, 1944) 1 The damage city, should be seen as a fertile conditions for new urban vision, stronger collaborations between the Arts, able to facing an international emerging context confront. This attitude transformed the city into a laboratory of modernity 2, developing new design while looking for assonances with the past.

This research aim to analyse some examples of interesting corners in the city: in order to understand which are the adaptable formal solution for a complex plot, the corner indeed, in relation with the role that they play in expressing a urban continuity: cutted shape or alligned front, composition of volumes or offsetting facades, collision of blocks or setbacked planes, continous surfaces or discontinuous composition... these are some recurrent characters in the selected examples.

The selection of the solution adopted is closely related with the space that the building aim to provide for the city. What emerged from the analysis is that forms and urbanity are linked together, in fact some formal choices suggest a particular use of the spaces provided.

The resultant city is a plastic experiment, singular and unique result of the encounter of several urban densities and forms.

Corners are the urban spaces in which this encounter takes place.

Corners are not only a dialogue between the forms of the object itself but also between the object and the city.

Corners are the essence of a city’s urban character because they enclose the complex relation between void and architectural density, porosity and compactness, hystorical city and modernist metropolitan quarters.

Corners are the place where different part of the city meets, unequal urban fabrics joint together and various forms find a balance.

Corners are the edge through which we can conceived and design a urban space for the city and the citizens and also the key to read a city.

1 Savinio A. (1944). Ascolto il tuo cuore città, Milano: Bompiani.

2 Bassoli N., & Zucchi C., (2014). Innesti/Grafting. Milan. Laboratory of modernity (Vol.2). Venezia: Marsilio.

3

Beautiful corners-Beautiful corners-Beautiful corners-Beautiful corners

AB STRAC T

The relation that the corner establishes with the surrounding is seen both in volumetrical and planar dimension. Through axonometries we can appreciate the spacial relation determinated as urban object with other building, while plans and elevations provide respectively informations about the use of the space and the characters that the corners embodied.

Thus the choice of approaching the corners with three different representations: AXONOMETRY, that analyzes the urban tissue in which the building rised to focus on the different density an porosity of the fabric. In some cases, it also report the public space the corner complex generated (dashed lines).

PLAN, that analyzes the accesses to evaluate the relation between the groundfloors, how they provided continuity with the urban soil or detached the building with the tratment of the basement.

ELEVATION that analyzes the composition of the basic elements in order to compare and contrast the image of the city they contribute to create. The comparison between the corners is done through a collage stripe, at the end of each itinerary, that make it clear the character of the building itself. Some are expression of permeability, others are about games of light and shadows, others are research on the power of composition of surfaces...

4

Beautiful corners-Beautiful corners-Beautiful corners-Beautiful corners

NOTE FOR THE READER

INDEX ATLAS

6

ITINERARIES I ) P i a z z a l e L o r e t o -V i a A n d r e a D o r i a - P i a z z a C a i a z z o -

8

P i a z z a D u c a D ’A o s t a

I I ) P i a z z a d e l l a Re p u b b l i c a -Vi a F i l i p p o T u r a -

13

t i - P i a z z a S t a t i U n i t i D ’A m e r i c a - P i a z z a C a v o u r

I I I ) P i a z z a S a n B a b i l a - C o rs o G i a c o m o

19

M a t te o t t i - P i a z z a Fi l i p p o Me d a - Vi a S a n Ra f fa el e

I V ) Vi a G i u s e p p e M a z z i n i - P i a z a A r m a n d o

23

D i a z - P i a z z a G i u s e p p e M i s s o r i - Vi a A l b r i c c i - Vi a L a r g a

PHOTO STREAM

28

5

ATLAS

1. Centro Svizzero, Armin Meili, Giovanni Romano, 1947-52

2. II Palazzo Montecatini, 4. Torre Martini, 3. Via Albricci 10, Gio Ponti, Antonio Fornaroli, Mario Anago, ClaudioVender, Luigi Mattioni Soncini Eugenio Soncini, 1952 1953-59 Eugenio e Ermenegildo, 1953-57

5. Edificio per abitazioni, 6. Chase Manhattan Bank, uffici, negozi in via Turati 7, BBPR, , 1958-69 Vito and Gustavo Latis, 1953-55

7. Palazzo di fuoco, Giulio Minoletti, 1959-62

8. Edificio in Via Mazzini 12, 9. Torre Turati, Luigi Figini, Gino Pollini, Giovanni e Lorenzo Muzio, 1963-67 1966-69

11. Edificio Polifunzionale in 12. Hotel in Piazza Duca via San Raffaele 6, d’Aosta, Emilio Battisti, 1983-95 Onesitestudio, 2015

10. Palazzo Montedoria, Gio Ponti, 1968-71

Beautiful corners-Beautiful corners-Beautiful corners-Beautiful corners

ITINERARIE S

I )

P i a z z a l e

L o r e t o -V i a

A n d r e a

D o r i a -

P i a z z a

C a i a z z o -

P i a z z a

D u c a

D ’A o s t a

7.PALAZZO DI FUOCO, GIULIO MINOLETTI, 1959-62 CORNER PIAZZALE LORETO - VIALE MONZA

10. PALAZZO MONTEDORIA, GIO PONTI, 1968-71 CORNER PIAZZA CAIAZZO - VIA GIOVANNI BATTISTA PERGOLESI

12.HOTEL IN PIAZZA DUCA D’AOSTA, ONSITESTUDIO, 2015 CORNER PIAZZA DUCA D’AOSTA - VIA NAPO TORRIANI

PIAZZALE LORETO PIAZZA CAIAZZO P I A Z Z A D U C A D ’ A O S TA

8

7.PALAZZO DI FUOCO, GIULIO MINOLETTI, 1959-62 CORNER VIALE MONZA - PIAZZALE LORETO - VIA PADOVA

Highly innovative and complex building, both from a structural and plant-enginee ring point of view 1. BASEMENT at the ground floor are arranged commercial spaces wi th a mezzanine level and the atrium for accessing the upper floors.

2. OFFICE BLOCKS was characterized by the location, on the TERRACE, of a large clock, a luminous newspaper and a meteorological station (a metal rod and an iron sphere, now removed), very innovative elements for Europe. There were eigh t floors for the side that overlooks Piazz ale Loreto, six for that on Viale Monza and four for that on Via Padova.

The refurbishment is nowada ys ongoi ng

by GBPA Architects, trying to follow the original concept of Minoletti proposal.

Office blocks semi-public Viale Monza

Via Padova

Terrace

Basement public

Two different geometries colliding in the corner creating transpare nt planar surface that interface dynamically with the city designing the square. The main character of this building is the permeability, both visual and functional: the massive use of transparent glas s modules defined by the main uprights, vertical and horizontal, marked the regular rhy thm of the facade; the extension of the urban life inside the building is given by the creation of the atrium, an inner courtyard at the groundfloor where the entrance axis crosses the building and connect the two wings.

Piazzale Loreto

[ 45°29'12.4"N 9°13'02.0"E]

9

10. PALAZZO MONTEDORIA, GIO PONTI, 1968-71 CORNER PIAZZA CAIAZZO - VIA GIOVANNI BATTISTA PERGOLESI

Via Andrea Doria

Office blocks semi-public

The first project drawn up in 1963, provided within a triangular lot the construction of a tower of 50 meters in height that stood slightly backward, with a low four-story body located on the road front of Via Macchi. This solution was not accepted by the Administration, and Ponti committed himself to the realization of a new project: this involved the realization of two unequal bodies grafted to each other, giving rise to an angular and uneven form.

1. OFFICE BLOCKS is a game of protru ding planes that come alive overlapping the long flat surface covered with four types of tiles, three in relief and one floor, arranged according to a regular texture.

The different coating and the plastic design of the facade with offsetted portions,are evidence of his concept of Architecture as public landscape to be observed.

The corner is a small cut in the boundary of the plot where he stresse d the w or k of abstraction. His tecnique of “procedere per superfici”(Alessandro Mendini, 1981) 1 is clearly visible in the treatment of the openings, alligned with the external side of the wall, create a flat suface. They are the oppportunity to reflect the light and the sky of the city more than clreate games of shadows. The entrance at the groundfloor give emphasis to the corn er.

Via Giovanni Battista Pergolesi

[ 45°29'07.8"N 9°12'31.5"E]

1. Mendini A., (1981) Tre pareti e una casa. Modo, 43.

10

12.HOTEL IN PIAZZA DUCA D’AOSTA, ONSITESTUDIO, 2015 CORNER PIAZZA DUCA D’AOSTA - VIA NAPO TORRIANI

Via Napo Torriani

Terrace

Via Vitruvio Hotel public

Covered porch public

The project covers renovation of a part of the building designed by the architect Baciocchi in 1953, separated from the remaining volume by a structural joint. It reconfigures the volume located on the lot between Via Vitruvio and Via Torriani, and in particular the main facade on Piazza Duca d’Aosta.

The new volume reprises the silho uette of the original building, without attempting to appear “new” or extraordinary. Instea d, the objective is to establish a relationship of continuity by analogy with the image of the previous building and the portion of it that has been conserved, both in terms of overall size and in terms of propor tional relationships and the language of the existing facade, replicating the massive, sober, regular character.

1.HOTEL facade of is composed of a unitary pattern that reflects the structure of th e building: the rhythm and depth are gauged starting with the measurem ents of the rep laced building, of which the vertical module is doubled in tune with the monumental scale of Piazza Duca d’Aosta. In this way, the architecture attempts not to impose itself as the mere expression of a lim ite d iconographic program, but to narrate the engagement of different proportions, densities and rhythms the building enacts in order to express ur ban m ea ni ng a nd continuity.

The corner sets out to make a careful reinterpretation of the replaced building, through the re-creation of a facade of strong urban character, in ass onance and continuity with the materials and formal memories of the city. The result is an auste re front that establishes a re la tions hip with the massive, exuberant presence of the Central Station and the slim, crystalline volume of the Pirelli tower.

Piazza Duca D’Aosta

[ 45°29'02.1"N 9°12'13.0"E]

11

TORRE MARTINI

P i a z z a l e

FA C A D ES CO LLEC TIO N

EDIFICIO IN VIA MAZZINI

VIA ALBRICCI 10

L o r e t o -V i a A n d r e a D o r i a P i a z z a

VIA ALBRICCI 10

C a i a z z o -

PA L A Z Z O D I F U O C O

H O T E L D U C A D ’ A O S TA

P i a z z a D u c a D ’A o s t a

12

I I ) P i a z z a d e l l a R e p u b b l i c a -V i a F i l i p p o T u r a t i - P i a z z a S t a t i U n i t i D ’A m e r i c a - P i a z z a C a v o u r

9.TORRE TURATI, GIOVANNI E LORENZO MUZIO, 1966-69 CORNER VIA TURATI-VIA UGO TARCHETTI

PIAZZA DELLA REPUBBLICA

2.II PALAZZO MONTECATINI, GIO PONTI, ANTONIO FORNAROLI, EUGENIO SONCINI, 1952 P I A Z Z A S T AT I U N I T I D ’ A M E R I C A

P I A Z Z A C AV O U R

5.EDIFICIO PER ABITAZIONI, UFFICI, NEGOZI IN VIA TURATI 7, VITO AND GUSTAVO LATIS, 1953-55

1. CENTRO SVIZZERO, ARMIN MEILI E GIOVANNI ROMANO, 1947-52 13

9.TORRE TURATI, GIOVANNI E LORENZO MUZIO, 1966-69 CORNER VIA TURATI - VIA UGO TARCHETTI

Pitched roof

Stepped tower mixed use: private / public

Industry block public

Via Iginio Ugo Tarchetti

Basement public

Low block

The aim of the building was to complete the renovation of Piazza della Repubblica,based on the Piano Particolareggiato of that time (1953).

It established the construction of a tower, in front of the one built by Luigi Mattioni on the other side of the street. The aim was to organised th e plaza with a symmetrical distrib ution.

The building is composed by three block: 1. BASEMENT composes the common base of the complex. The three floors block hosted the bank and the caveau underneath.

2.INDUSTRY BLOCK is a FIVE floor block that hosts offices. Toward Via Turati,the facade is alligned with the exhisting buildings and it reproposes the same orizontal distribution of the elements. The attempt was to comlete the urban front along the Via. 3. TOWER BLOCK that reached 75 m high, is composed by nineteen mixed use floors. the first ten levels should host offices while the last apartment units. The stepped facade, due to the encrease in the plan dimensions, gives express ion to the tow er.

Another interesting aspect is the use of a pitched roof for a high-rise building that reminds us Torre Velasca (1951-58,BBPR).

The corner is solved in a tridimensi onal element that deals with different sides of the city. The necessity of simmetry for the design of the Piazza is not the same principle that guide the design of, neither in plan nor in elevation: the different and asimmentrical blocks conflict with the unique basement, the fragmented profile of one side contrast with the other s ide of th e tower. The unicity of the groundfloor is enhance by a filtering space that collect the entrance doors.

Piazza della Repubblica

[ 4 5 °2 8 '3 7 .2 " N 9°11' 46.3" E ]

14

2.II PALAZZO MONTECATINI, GIO PONTI, ANTONIO FORNAROLI, EUGENIO SONCINI, 1952 CORNER VIA TURATI - PIAZZA DELLA REPUBBLICA - VIA PRINCIPE AMEDEO

Rear Arm private

Offices blocks private

Via Principe Amedeo

Main block public

Public square public Low block

Piazza Stati uniti d’America

[ 4 5 °2 8 ' 3 0 . 9 " N 9 ° 1 1 ' 3 9 . 9 " E ]

The planimetric plant is based on the articulation of several volumes, but united to compose a single design that confirms the settlement logic of the isolated court, provided for the area by the urban instruments then in force.

1. PUBLIC SQUARE in front of the main building distributes the entrance gallery in which were exposed the products of Montecati ni.

2. MAIN BODY, facing Piazza della Repubblica, consists of a concave building developed on thirteen floors. The lightness is given by the use of glass window facade.

3. OFFICE BLOCKS are lined up the streets Turati and Principe Amedeo, they reach the eight floors above ground and which recall some compositional principles of the First Palace (1935-38) and recover the material treatment, through the use of Nuvolato Apuano marble for street facades and mosaic for those facing inside the court. The character of the building changes from a transparent fron t to an opac surface cover by murble and iron frame.

4. REAR AR M clos es the lotto over looking via Montebello, whose facade is marked by horizontal bands and enlivened by light overhangs. As in the first, it will not be the front, but a side, the most appealing aspect: here is even the verse, or rear fron t, with a nice movement of surfaces arranged in diamond.

The corner establishes a direct relation with the frontal square thank to the curved facade. The uniform and light stripe of window s in contrast with the massi ve surrounding enhance the centrality of corner.

15

5.EDIFICIO PER ABITAZIONI, UFFICI, NEGOZI IN VIA TURATI 7, VITO AND GUSTAVO LATIS, 1953-55 CORNER VIA TURATI - VIA MONTEBELLO

Via Filippo Turati Via Filippo Turati

Garden semi-public Garden semi-public Apartments private Apartments private

Offices block semi-public

Offices Offices level block semi-public semi-public Offices level Stores and projected porch semi-public public Stores and projected porch public Via Montebello Via Montebello

The planimetric plant is based on the articulation of several volumes, but united The planimetric plant is based on the to compose a single design that confirms articulation of several volumes, but united the settlement logic of the isolated court, to compose a single design that confirms provided for the area by the urban instruthe settlement logic of the isolated court, ments then in force. provided for the area by the urban instru1. SHOPS AND SERVICES are facing the ments then in force. street front. In front of them a projecting 1. SHOPS AND SERVICES are facing the porch designed the urban facade of the street front. In front of them a projecting building extending the public space of the porch designed the urban facade of the shops outside in the city. building extending the public space of the 2. OFFICE LEVEL setbacked from the shops outside in the city. facade plane, its continous glass windows 2. OFFICE LEVEL setbacked from the divide the low public stripe from the facade plane, its continous glass windows residencial complex of the last four floors, divide the low public stripe from the giving an horizontal cut to the facade residencial complex of the last four floors, distribution. giving an horizontal cut to the facade 3. APARTMENTS project the building distribution. surface. The reproduction of the same 3. APARTMENTS project the building elongated windows gives the vertical surface. The reproduction of the same distribution that opposed to the horizontal elongated windows gives the vertical sistem of the first three public str ip es. distribution that opposed to the horizontal 4. GARDEN big open space in the rear sistem of the first three public str ip es. front of the building facing the living 4. GARDEN big open space in the rear rooms and the master bedrooms of the front of the building facing the living apartments. Towards the g arde n, how ever, rooms and the master bedrooms of the the compactness of the urban front gives apartments. Towards the g arde n, how ever, way to fragmentation determined by overthe compactness of the urban front gives lapping rows of balconies towards which, way to fragmentation determined by overin plan, bend the walls of the living rooms. lapping rows of balconies towards which, 5.OFFICE BLOCK The complex is complein plan, bend the walls of the living rooms. ted by a body of five floors above ground, 5.OFFICE BLOCK The complex is compleallined along the Via Montebello, which ted by a body of five floors above ground, houses offices whose succe ssion marks the allined along the Via Montebello, which front facing north more closely. houses offices whose succe ssion marks the front facing north more closely.

The corner setbacks fro m the sur face of the facade underlining the shifting betwe The corner setbacks fro m the sur face of en the two side and gives visibility to t he the facade underlining the shifting betwe covered porch with the projecting concrete en the two side and gives visibility to t he canopy. covered porch with the projecting concrete canopy.

Via F ilip p o Tu r a ti

[ 4 5 ° 2 8 '3 0 . 9 " N 9 °1 1 ' 3 9 . 9 " E ]

G a rd e n semi-public

[ 4 5 ° 2 8 '3 0 . 9 " N 9 ° 1 1 '3 9 . 9 " E ]

Apartments private Offices block semi-public Offices level semi-public S t o re s a n d p ro j e c t e d p o rc h public

Vi a M o n t e b e l l o

The planimetric plant is based on the articulation of several volumes, but united to compose a single design that confirms the settlement logic of the isolated court, provided for the area by the urban in st ruments then in force.

1. SHOPS AND SERVICES are facing the street front. In front of them a projecting porch designed the urban facade of the building extending the public space of the shops outside in the city.

2. OFFICE LEVEL setbacked from the facade plane, its continous glass windo ws divide the low public stripe from t he residencial complex of the last four floors, giving an horizontal cut to the facade distribution.

3. APARTMENTS project the building surface. The reproduction of the same elongated windows gives the ver ti cal distribution that opposed to the horizontal sistem of the first three publi c s tr ipes .

4. GARDEN big open space in the rear front of the building facing the living rooms and the master bedrooms of the apartments. Towards the garden, how ever, the compactness of the urban front gives way to fragmentation determined by overlapping rows of balconies towards whi ch, in plan, bend the walls of the living rooms.

5.OFFICE BLOCK The complex is completed by a body of five floors above ground, allined along the Via Montebello, which houses offices whose succe ssion marks the front facing north more closely.

The corner setbacks from the sur face of the facade underlining the shifting betwe en the two side and gives visibility to the covered porch with the projecting concrete canopy.

[ 45°28'30.9"N 9°11'39.9"E]

16

1. CENTRO SVIZZERO, ARMIN MEILI E GIOVANNI ROMANO, 1947-52 CORNER VIA PALESTRO - PIAZZA CAVOUR - VIA DEL VECCHIO POLITECNICO

Tower block

Giardini pubblici Idro Montanelli

public

Via del vecchio Politecnico

Inside couryard semi-public

Low block public

Piazza Cavour

The complex consists of two different buildings: 1. LOW BLOCK which follows the road trend towards Piazza C avo ur an d Via Pale stro. The low building is sprea d o ver fi ve floors above ground and two basement, occupied by common services such as the boiler room, the water and electricity plant.

The first and second levels were in te nd ed for offices repres entin g Swis s businesses in Milan, while the last two were the headquarters of the Club of the Swiss Society, used for parties, performances and conce rts that welcomed up to six hundred people in a double-height room, connected to a library with reading room, playrooms and billiards , the administration areas and the terrace.

The ceiling of the party room was made of perforated pavatex slabs, on whic h wa s painted a folkloric motif by Zurich designer Noldi Soland, while the floors were mar ble and parquet.

2. TOWER of twenty-one floors isolated in a private courtyard facing Via del Vecchio Politecnico, accessible by an internal road.

The levels between the second and the eighteenth were intended for offices,while the last three for a restaurant, wi th a pa noramic terrace.

The two buildings are connected by an open courtyard facing Via del Vecchio Politecni co, with a mosaic pavement by Alberto Salvioni.

The L shape block, alligned with the plot boundary, defined the corner toward Piazz a Cavour enhancing the horizontality of the volume if compared with the verticality of the tower. The long and low stecca attempts to mediate the vertical posture of the tower with its horizontal development. The language adopted in the two volumes is the same, this unified the blocks even if the are separated from the inner courty ard.

[ 4 5 째 2 8 '2 1 .7 "N 9째11'45. 9"E]

Tower block

Giardini pubblici Idro Montanelli

public

Via del vecchio Politecnico

Inside couryard semi-public

Low block public

Piazza Cavour

The complex consists of two different buildings: 1. LOW BLOCK which follows the road trend towards Piazza Cavour an d Via Pale stro. The low building is sprea d o ver fi ve floors above ground and two basement , occupied by common services such as the boiler room, the water and electricity pla nt.

The first and second levels were inten ded for offices representing Swiss b us inesses in Milan, while the last two were th e headquarters of the Club of th e Swiss S ociety, used for parties, performan ces an d co nc ert s that welcomed up to six hundred people in a double-height room, connected to a library with reading room, playrooms and billia rds , the administration areas and t he terr ace.

The ceiling of the party room was made of perforated pavatex sla bs, on wh ic h w as painted a folkloric motif by Zurich designer Noldi Soland, while the floors were ma rble and parquet.

2. TOWER of twenty-one floors isolated in a private courtyard facing Via del Vecchio Politecnico, accessible by an internal road.

The levels between the second and the eighteenth were intended for offices,while the last three for a restaurant, with a pan oramic terrace.

The two buildings are connected by an open courtyard facing Via del Vecchio Politecni co, with a mosaic pavement by Alberto Salvioni.

The L shape block, alligned with the plot boundary, defined the corner toward Piazz a Cavour enhancing the horizontality of the volume if compared with the verticality of the tower. The long and low stecca attempts to mediate the vertical posture of the tower with its horizontal development. The language adopted in the two volumes is the same, this unified the blocks even if the are separated from the inner courty ard.

[ 45째28'21.7"N 9째11'45.9"E]

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TORRE TURATI

S E C O N D O PA L A Z Z O M O N T E C A T I N I

EDIFICIO IN VIA TURATI

CENTRO SVIZZERO

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P i a z z a d e l l a R e p u b b l i c a - V i a F i l i p p o T u r a t i - P i a z z a S t a t i U n i t i D ’A m e r i c a - P i a z z a C a v o u r

FA C A D ES CO LLEC TIO N

I I I ) P i a z z a S a n B a b i l a - C o rs o G i a c o m o M a t te o t t i - P i a z z a Fi l i p p o Me d a - Vi a S a n Ra f fa el e

6. PIAZZA MEDA, BBPR, CHASE MANHATTAN BANK, 1958-69

11. EDIFICIO POLIFUNZIONALE IN VIA SAN RAFFAELE 6, EMILIO BATTISTI, 1985-91

PIAZZA SAN BABILA PIAZZA FILIPPO MEDA

PIAZZA DUOMO

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6. PIAZZA MEDA, BBPR, CHASE MANHATTAN BANK, 1958-69 CORNER VIA ALBERTO CATENA - PIAZZA MEDA- VIA ULRICO HOEPLI

Crowning Via Ulrico Hoepli Offices building semi-public

Covered porch public

The typical tripartite scheme organised the volume: 1. PORCH constitutes the basement thant connects the Hoepli’s building by L.Figini e G.Pollini with the Church of San Fedele. It is composed by a series of polygonal steel portals supported by a giant order of Y shaped pillars , that are actually readable, especially at the ends of the building. Their dark color make the building detached from contest.

2.OFFICE BUILD IG describes a wide broken polygonal line, almost curve, raising from the ground a semicylindr ic al mass that establishes unprecedent ed volumetric relationships with the ne arb y monument and buildings.The scanning of church pilasters turns in to the structural matrix of thin metal struts that s hape th e facade vertically and give order and proportion. These vertical lines recall the high basement creating a continous correspondence between the si ngle par ts and the whole. The infill panels alternate plates of pinkish trachyte to panels of glass, mounted behind the wire of the metal members.

3. CROWNING is made by a setbacked attic that reproduce the same element of the main corpe, and the porch.

The curved sensual shape of the building designed in continuity with the pre-exhistences, defined the square creating a new urban front. The relation with the city is mediated with though permeability of the covered porch at the groundfloor create a public space in continuity with the open space in front of it.

Via Adalberto Catena

Piazza Filippo Meda

[ 4 5 ° 2 8 ' 0 0 . 6 "N 9° 11'33.7"E]

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11. EDIFICIO POLIFUNZIONALE IN VIA SAN RAFFAELE 6, EMILIO BATTISTI, 1985-91 CORNER VIA SAN RAFFAELE - VIA SANTA RADEGONDA

The complex is articulated from an irregular plan, which follows the boundaries of the lo. The building is developed in three volumes of different heights: 1. HOTEL of six floors includes a public ROOFTOP TERRAC E, tun ning out doo r space for private events nowadays.

2. OFFICES BLOCK, of six floors hosts both private and public offices.

3. COVERED PASSAGE the tool that articulate the space at the ground floor is a public passage connection Via S. Raffaele with Via S. Radegonda. It allows to solve the considerable functional complexity distributing the acesses to the differen t blocks.

What characterizes the building is the corner solution:a sharp and hollow at the base angle pushes up to the edge of the lot, being emphasized by the succession in height of panels drilled by thick vertical cracks.

Piazza del Duomo

Hotel public Via Santa Radegonda Offices semi-public

Rooftop terrace public Galleria Fontana

Commercial stripe public

The strong formal identity of the building is assumed thanks to the tratment of the building corner. A sharpe edge in the middle of the historical tissue, suspen ded over an empty basement that host the entrance of the actual bar.

Passage public

Via S. Raffaele

Via Tommaso Marino

[ 4 5 ° 2 7 '5 7 .1" N 9°11'28.7" E ]

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C H A S E M A N H AT TA N B A N K

E D I F I C I O P O L I F U N Z I O N A L E I N V I A S . R A F FA E L E N . 6

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Piazza San Babila- Corso Giacomo Matteotti- Piazza Filippo Meda- Via San Raffaele

FA C A D ES CO LLEC TIO N

I V) Vi a G iu s e p p e M a z z i n i - P i a z a A r m a n d o D i a z - P i a z z a G i u s e p p e M i s s o r i - Vi a A l b r i c c i - Vi a L a r g a

2. EDIFICIO IN VIA MAZZINI, LUIGI FIGINI E GINO POLLINI, 1963-67

4.TORRE MARTINI, LUIGI MATTIONI SONCINI EUGENIO E ERMENEGILDO, 1953-57

3. VIA ALBRICCI 10, MARIO ANAGO E CLAUDIO VENDER, 1953-59

VIA LARGA PIAZZA ARMANDO DIAZ PIAZZA GIUSEPPE MISSORI

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P i a z z a l e

2. EDIFICIO IN VIA MAZZINI, LUIGI FIGINI E GINO POLLINI, 1963-67 CORNER VIA FALCONE - VIA GIUSEPPE MAZZINI

The corner, is characterized by a cut in th e shape of the lot. The result is a new facade that connet the two side of the street and create a backdrop for the little space in front of the building. In addition it is a transition between the different language of the other two blocks. The generation of a covered gallery at the bottom of the block, create a pubblic passage for the city and project the inside space outside.

P i a z z a

[ 45°27'45.3"N 9°11'18.1"E]

C a i a z z o -

Via Gaetano Giardino

P i a z z a

Porch public passage

D o r i a -

Lower block

Via Falcone

A n d r e a

Higher block

L o r e t o -V i a

Via Giuseppe Mazzini

The complex is located in front of the Bramante apse of Santa Maria presso San Satiro, with the bell tower, inside the medieval fabric. The aim of completing a pre-esisting lot is done by the creation of different volumes that can deal with the different mobility and urban context of Via Mazzini and Via Falcone. The result is a composition of higher and lower blocks that detached one from each other also through a different use of materials. give shape to the corner.

1. lower block constitute the basement, with a partially open porch. Here the proven technique of vertical planes of little depth integrates perfectly with the composition of the selected materials: exposed concrete frame, blocks of stone of Cuass o a l Mon te, Monolithic pillars in pink granite of Baveno, metal railings braided dark brown, windows largely glazed but set back from the external wire.

The will of setting and continuity is obtain thanks to the composition “a scozzese ” that repeat the same vertical uprights overlap ping horizontal courses and metalic par a pets.

2. higher block and narrower. The continuity with the lower block is also mediated with a function correspondance at the ground level. Both host a public space for services.

3. pitched roofs the copper shapes dialogue with the close the tiles of the church and its terracotta profiles.

D u c a D ’A o s t a

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4.TORRE MARTINI, LUIGI MATTIONI SONCINI EUGENIO E ERMENEGILDO, 1953-57 CORNER VIA FLAVIO BARACCHINI - PIAZZA DIAZ - VIA MAURIZIO GONZAGA

Terrace public

Tower semi-public Via Flavio Baracchini

Via Maurizio Gonzaga

Residencial and commercial wings semi-public

Basement public

The building stands in front of Piazza Diaz an area, that is the result of the town plan ning of the fascist period. It was destined to become a multifunctional center, with entertainment facilities at the foot, offices and housing on the upper floors. Different volumes, as in Torre Breda , are arranged along the margins of diamond-shaped lot.

1. TOWER of sixtyfour floors constitute the background of the street perspective view that comes from the Galleria Vittorio Emanuele, through the churchyard of the Duomo. The central nucleus on the ground floor provided the construction of a skating rink (never built) and, on the upper floors, a covered square on tw o levels while the top part was res erved for residence. The tower block is offs ett ed from the facade plane. This detachment is underlined by the horizontality of the windows and marble courses .

2. LATERAL WINGS should have hosted commercial activities and other residence areas. On the contrary the dense su ccession of thin pilasters imprinted a ve rti cal design of the facade.

3. TERRACE design by Tommaso Buzzi, occupies five rooms in the last three floor of the tower.

The corner, in this case, aim to genera te a new vibrant urban facade obtained throu gh the different treatment of the window grid: a deeper ambushes for the wings create shadow games in contra st wi th tha flat facade of the high monolith. The continuity is enhanced thank to the construction of the double height basement that continues the ground floor str ipe of the pre-exhisting buildings.

Moreover it’s providing a urban space not only inside, thanks to the various public functions of the first floors but also in the outside where a covered porch r uns along the entire perimeter.

Piazza Armando Diaz

[ 4 5 ° 2 7 '4 3 . 1 "N 9°11' 24.0" E ]

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3. VIA ALBRICCI 10, MARIO ANAGO E CLAUDIO VENDER, 1953-59 CORNER VIA ALBRICI - VIA LARGA - PIAZZA VELASCA

The building insists on a small irregu lar side at the vertex of the lot.

1. COMMERCIAL BASEMENT two open and opposed halls serve access 2. OFFICE BLOCK only one office per floor is provided for the fir st four levels, while in the next three the space is org ani zed into seven small units, of identical surface.

3. ATTIC which open loggia is the crow ning of the facade. Along a terrace perimeter, are distributed three apar tments , the largest of which centrally, and the small accommodation of the doorman.The regular composition of the windows, always rectangular and much larger from the fourth to the seventh floor, is characterized by the recovery of the latter, in pairs, staggered and juxtaposed to mark the corner of the building.

Piazza Velasca Attic private

Office block semi-public

Commercial basement public

The aim was completing the reconstr uctio n of the plot thus it was conceived as a unique volume in continuity with the exhisting block. The power of light and figura tiveness is what character ize d the facad es: from the outside the inside articulation of the functions, organized as vertical tr ans ition from public to a more private one, is not readable for the irregular distri bution of the solids and voids, sometimes shifted to mark the corner. What characterizes the corner solution toward Via Albricci, is the curvilinear line of the terminal part of the building, with the facade in partial and progressive overhang on the ground floo r.

Via Via Albricci

Via Larga

[ 45° 27'38.1"N 9°11'26.5"E]

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FA C A D ES CO LLEC TIO N

EDIFICIO IN VIA MAZZINI

TORRE MARTINI

VIA ALBRICCI 10

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9 2 5 ph: Mario Broggi+ Michael Burckhardt, Marco Introini

ph : F ed er i co B al est r i n i

12

ph : M au r i zi o Mo n t ag n a

10

ph : M au r i zi o Mo n t ag n a

7

ph : Vi n cen zo C ast el l a

ph : F ed er i co B al est r i n i

cr e di t : G B PA A r ch i t ect s

PHOTO STRE AM

1

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8

ph : S t ef an o S u r i an o

11

ph : M ar co I n t r o i n i

ph : Al essan d r o S ar t o r i

ph : Al essan d r o S ar t o r i

ph : M ar co I n t r o i n i

6 4 3

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Beautiful corners-Beautiful corners-Beautiful corners-Beautiful corners