View allAll Photos Tagged bbpr
D815_495
20/02/2016 : Milano, via Festa del Perdono: ex Ospedale Maggiore, detto Ca' Granda, ora Università degli Studi di Milano (Filarete, Guiniforte Solari, Giovanni Antonio Amadeo, Giovan Battista Pessina, Angelo Crivelli, Francesco Maria Ricchino, Pier Giorgio Rossone, Attilio Arrigoni, Pietro Castelli, 1456-1805; distrutto nel 1943; rest. Piero Portaluppi, Liliana Grassi, 1953-2012)
cortilone e torre Velasca (BBPR, 1951-58)
IMAGINE TO BE HERE...
close your eyes and forget to be in a very big and modern city...
imagine this place in the 15th century... battles, political business, courts and Princes and dames...
it is like a magic tale...
**************************************
Sforza Family
was a ruling family of Renaissance Italy, based in Milan. They acquired the Duchy of Milan from the previously ruling Visconti family in the mid-15th century, and lost it to the Spanish Habsburgs about a century later.
Rising from rural nobility, the Sforzas became condottieri and used this military position to become rulers in Milan. The family governed by force, ruse, and power politics, similar to the Medici in Florence. Under their rule the city-state flourished and expanded.
Muzio Attendolo (1369–1424), called Sforza (from sforzare, to exert or force), founded the dynasty. A condottiero from Romagna, he served the Angevin kings of Naples and became the most successful dynast of the condottieri.
His son Francesco I Sforza ruled Milan, having acquired the title of Duke of Milan (1450-1466) after the extinction of the Visconti family in 1447.
The family also held the seigniory of Pesaro, starting from Muzio Attendolo's second son, Alessandro (1409–1473). The Sforza held Pesaro until 1519, with the death of Galeazzo.
Muzio's third son, Bosio (1411–1476), founded the branch of Santa Fiora, who held the title of count of Cotignola; the Sforza ruled the small county of Santa Fiora in southern Tuscany until 1624. Members of this family also held important ecclesiastical and political position in the Papal States, and moved to Rome in 1674, taking the name Sforza Cesarini.
The Sforza became allied with the Borgia family through the arranged marriage (1493-1497) between Lucrezia Borgia and Giovanni (the illegitimate son of Costanzo I of Pesaro). This alliance failed as the Borgia annulled the marriage once the Sforza's were no longer needed.
In 1499, in the course of the Italian Wars, the army of Louis XII of France took Milan from Ludovico Sforza (known as Ludovico il Moro, famous for taking Leonardo da Vinci into his service).
After Imperial German troops drove out the French, Maximilian Sforza, son of Ludovico, became Duke of Milan (1512-1515) until the French returned under Francis I of France and imprisoned him.
FOR MORE INFORMATIONS:
en.wikipedia.org/wiki/House_of_Sforza
*************************************
Sforza Castle
is a castle in Milan, northern Italy. It was built in the 15th century by Francesco Sforza, Duke of Milan, on the remains of a 14th-century fortification. Later renovated and enlarged, in the 16th and 17th centuries it was one of the largest citadels in Europe. Extensively rebuilt by Luca Beltrami in 1891–1905, it now houses several of the city's museums and art collections.
The original construction was ordered by local lord Galeazzo II Visconti in 1358–c. 1370;[1] this castle was known as Castello di Porta Giova (or Porta Zubia), from the name of a gate in walls located nearby.[2] His successors Gian Galeazzo, Giovanni Maria and Filippo Maria Visconti enlarged it, until it became a square-plan castle with 200 m-long sides, four towers at the corners and up to 7-metre-thick (23 ft) walls.[2] The castle was the main residence in the city of its Visconti lords, and was destroyed by the short-lived Golden Ambrosian Republic which ousted them in 1447.
In 1450, Francesco Sforza, once he shattered the republicans, began reconstruction of the castle to turn it into his princely residence. In 1452 he hired sculptor and architect Filarete to design and decorate the central tower, which is still known as Torre del Filarete. After Francesco's death, the construction was continued by his son Galeazzo Maria, under architect Benedetto Ferrini. The decoration was executed by local painters. In 1476, during the regency of Bona of Savoy, the tower with her name was built.
The castle in the 16th century.
In 1494 Ludovico Sforza became lord of Milan, and called numerous artists to decorate the castle. These include Leonardo da Vinci (who frescoed several rooms, in collaboration with Bernardino Zenale and Bernardino Butinone) and Bramante, who painted frescoes in the Sala del Tesoro;[3] the Sala della Balla was decorated with Francesco Sforza's deeds. Around 1498, Leonardo worked at the ceiling of the Sala delle Asse, painting decorations of vegetable motifs. In the following years, however, the castle was damaged by assaults from Italian, French and German troops; a bastion, known as tenaglia was added, perhaps designed by Cesare Cesariano. After the French victory in the 1515 Battle of Marignano, the defeated Maximilian Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the castle. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated. In 1521, in a period in which it was used as a weapons depot, the Torre del Filarete exploded. When Francesco II Sforza returned briefly to power in Milan, he had the fortress restored and enlarged, and a part of it adapted as residence for his wife, Christina of Denmark.
Coat of arms of Galeazzo Maria Sforza, painted on an interior ceiling.
Under the Spanish domination which followed, the castle became a citadel, as the governor's seat was moved to the Ducal Palace (1535). Its garrison varied from 1,000 to 3,000 men, led by a Spanish castellan.[2] In 1550 works began to adapt the castle to modern fortification style, as an hexagon (originally pentagon)-shaped star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25.9 hectares.[4] The castle remained in use as a fort also after the Spaniards were replaced by the Austrians in Lombardy.
Journal of Jean-Claude Locquin describing the trenches made around the castle during the Napoleonic rule. Archives nationales de France.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a 700-by-700-metre (2,300 by 2,300 ft) square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration works, directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central tower, known as the Torre Filarete, above the main city entrance was rebuilt, on the basis of 16th-century drawings, between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
FOR A DETAILED DESCRIPTION:
en.wikipedia.org/wiki/Sforza_Castle
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.470281&lon=9.180381...
*************************************************************************************
“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
*************************************************************************************
Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
IMAGINE TO BE HERE...
close your eyes and forget to be in a very big and modern city...
imagine this place in the 15th century... battles, political business, courts and Princes and dames...
it is like a magic tale...
**************************************
Sforza Family
was a ruling family of Renaissance Italy, based in Milan. They acquired the Duchy of Milan from the previously ruling Visconti family in the mid-15th century, and lost it to the Spanish Habsburgs about a century later.
Rising from rural nobility, the Sforzas became condottieri and used this military position to become rulers in Milan. The family governed by force, ruse, and power politics, similar to the Medici in Florence. Under their rule the city-state flourished and expanded.
Muzio Attendolo (1369–1424), called Sforza (from sforzare, to exert or force), founded the dynasty. A condottiero from Romagna, he served the Angevin kings of Naples and became the most successful dynast of the condottieri.
His son Francesco I Sforza ruled Milan, having acquired the title of Duke of Milan (1450-1466) after the extinction of the Visconti family in 1447.
The family also held the seigniory of Pesaro, starting from Muzio Attendolo's second son, Alessandro (1409–1473). The Sforza held Pesaro until 1519, with the death of Galeazzo.
Muzio's third son, Bosio (1411–1476), founded the branch of Santa Fiora, who held the title of count of Cotignola; the Sforza ruled the small county of Santa Fiora in southern Tuscany until 1624. Members of this family also held important ecclesiastical and political position in the Papal States, and moved to Rome in 1674, taking the name Sforza Cesarini.
The Sforza became allied with the Borgia family through the arranged marriage (1493-1497) between Lucrezia Borgia and Giovanni (the illegitimate son of Costanzo I of Pesaro). This alliance failed as the Borgia annulled the marriage once the Sforza's were no longer needed.
In 1499, in the course of the Italian Wars, the army of Louis XII of France took Milan from Ludovico Sforza (known as Ludovico il Moro, famous for taking Leonardo da Vinci into his service).
After Imperial German troops drove out the French, Maximilian Sforza, son of Ludovico, became Duke of Milan (1512-1515) until the French returned under Francis I of France and imprisoned him.
FOR MORE INFORMATIONS:
en.wikipedia.org/wiki/House_of_Sforza
*************************************
Sforza Castle
is a castle in Milan, northern Italy. It was built in the 15th century by Francesco Sforza, Duke of Milan, on the remains of a 14th-century fortification. Later renovated and enlarged, in the 16th and 17th centuries it was one of the largest citadels in Europe. Extensively rebuilt by Luca Beltrami in 1891–1905, it now houses several of the city's museums and art collections.
The original construction was ordered by local lord Galeazzo II Visconti in 1358–c. 1370;[1] this castle was known as Castello di Porta Giova (or Porta Zubia), from the name of a gate in walls located nearby.[2] His successors Gian Galeazzo, Giovanni Maria and Filippo Maria Visconti enlarged it, until it became a square-plan castle with 200 m-long sides, four towers at the corners and up to 7-metre-thick (23 ft) walls.[2] The castle was the main residence in the city of its Visconti lords, and was destroyed by the short-lived Golden Ambrosian Republic which ousted them in 1447.
In 1450, Francesco Sforza, once he shattered the republicans, began reconstruction of the castle to turn it into his princely residence. In 1452 he hired sculptor and architect Filarete to design and decorate the central tower, which is still known as Torre del Filarete. After Francesco's death, the construction was continued by his son Galeazzo Maria, under architect Benedetto Ferrini. The decoration was executed by local painters. In 1476, during the regency of Bona of Savoy, the tower with her name was built.
The castle in the 16th century.
In 1494 Ludovico Sforza became lord of Milan, and called numerous artists to decorate the castle. These include Leonardo da Vinci (who frescoed several rooms, in collaboration with Bernardino Zenale and Bernardino Butinone) and Bramante, who painted frescoes in the Sala del Tesoro;[3] the Sala della Balla was decorated with Francesco Sforza's deeds. Around 1498, Leonardo worked at the ceiling of the Sala delle Asse, painting decorations of vegetable motifs. In the following years, however, the castle was damaged by assaults from Italian, French and German troops; a bastion, known as tenaglia was added, perhaps designed by Cesare Cesariano. After the French victory in the 1515 Battle of Marignano, the defeated Maximilian Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the castle. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated. In 1521, in a period in which it was used as a weapons depot, the Torre del Filarete exploded. When Francesco II Sforza returned briefly to power in Milan, he had the fortress restored and enlarged, and a part of it adapted as residence for his wife, Christina of Denmark.
Coat of arms of Galeazzo Maria Sforza, painted on an interior ceiling.
Under the Spanish domination which followed, the castle became a citadel, as the governor's seat was moved to the Ducal Palace (1535). Its garrison varied from 1,000 to 3,000 men, led by a Spanish castellan.[2] In 1550 works began to adapt the castle to modern fortification style, as an hexagon (originally pentagon)-shaped star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25.9 hectares.[4] The castle remained in use as a fort also after the Spaniards were replaced by the Austrians in Lombardy.
Journal of Jean-Claude Locquin describing the trenches made around the castle during the Napoleonic rule. Archives nationales de France.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a 700-by-700-metre (2,300 by 2,300 ft) square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration works, directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central tower, known as the Torre Filarete, above the main city entrance was rebuilt, on the basis of 16th-century drawings, between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
FOR A DETAILED DESCRIPTION:
en.wikipedia.org/wiki/Sforza_Castle
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.470281&lon=9.180381...
*************************************************************************************
“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
*************************************************************************************
Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
IMAGINE TO BE HERE...
MILAN, NORTHERN ITALY
close your eyes and forget to be in a very big and modern city...
imagine this place in the 15th century... battles, political business, courts and Princes and dames...
it is like a magic tale...
**************************************
Sforza Family
was a ruling family of Renaissance Italy, based in Milan. They acquired the Duchy of Milan from the previously ruling Visconti family in the mid-15th century, and lost it to the Spanish Habsburgs about a century later.
Rising from rural nobility, the Sforzas became condottieri and used this military position to become rulers in Milan. The family governed by force, ruse, and power politics, similar to the Medici in Florence. Under their rule the city-state flourished and expanded.
Muzio Attendolo (1369–1424), called Sforza (from sforzare, to exert or force), founded the dynasty. A condottiero from Romagna, he served the Angevin kings of Naples and became the most successful dynast of the condottieri.
His son Francesco I Sforza ruled Milan, having acquired the title of Duke of Milan (1450-1466) after the extinction of the Visconti family in 1447.
The family also held the seigniory of Pesaro, starting from Muzio Attendolo's second son, Alessandro (1409–1473). The Sforza held Pesaro until 1519, with the death of Galeazzo.
Muzio's third son, Bosio (1411–1476), founded the branch of Santa Fiora, who held the title of count of Cotignola; the Sforza ruled the small county of Santa Fiora in southern Tuscany until 1624. Members of this family also held important ecclesiastical and political position in the Papal States, and moved to Rome in 1674, taking the name Sforza Cesarini.
The Sforza became allied with the Borgia family through the arranged marriage (1493-1497) between Lucrezia Borgia and Giovanni (the illegitimate son of Costanzo I of Pesaro). This alliance failed as the Borgia annulled the marriage once the Sforza's were no longer needed.
In 1499, in the course of the Italian Wars, the army of Louis XII of France took Milan from Ludovico Sforza (known as Ludovico il Moro, famous for taking Leonardo da Vinci into his service).
After Imperial German troops drove out the French, Maximilian Sforza, son of Ludovico, became Duke of Milan (1512-1515) until the French returned under Francis I of France and imprisoned him.
FOR MORE INFORMATIONS:
en.wikipedia.org/wiki/House_of_Sforza
*************************************
Sforza Castle
is a castle in Milan, northern Italy. It was built in the 15th century by Francesco Sforza, Duke of Milan, on the remains of a 14th-century fortification. Later renovated and enlarged, in the 16th and 17th centuries it was one of the largest citadels in Europe. Extensively rebuilt by Luca Beltrami in 1891–1905, it now houses several of the city's museums and art collections.
The original construction was ordered by local lord Galeazzo II Visconti in 1358–c. 1370;[1] this castle was known as Castello di Porta Giova (or Porta Zubia), from the name of a gate in walls located nearby.[2] His successors Gian Galeazzo, Giovanni Maria and Filippo Maria Visconti enlarged it, until it became a square-plan castle with 200 m-long sides, four towers at the corners and up to 7-metre-thick (23 ft) walls.[2] The castle was the main residence in the city of its Visconti lords, and was destroyed by the short-lived Golden Ambrosian Republic which ousted them in 1447.
In 1450, Francesco Sforza, once he shattered the republicans, began reconstruction of the castle to turn it into his princely residence. In 1452 he hired sculptor and architect Filarete to design and decorate the central tower, which is still known as Torre del Filarete. After Francesco's death, the construction was continued by his son Galeazzo Maria, under architect Benedetto Ferrini. The decoration was executed by local painters. In 1476, during the regency of Bona of Savoy, the tower with her name was built.
The castle in the 16th century.
In 1494 Ludovico Sforza became lord of Milan, and called numerous artists to decorate the castle. These include Leonardo da Vinci (who frescoed several rooms, in collaboration with Bernardino Zenale and Bernardino Butinone) and Bramante, who painted frescoes in the Sala del Tesoro;[3] the Sala della Balla was decorated with Francesco Sforza's deeds. Around 1498, Leonardo worked at the ceiling of the Sala delle Asse, painting decorations of vegetable motifs. In the following years, however, the castle was damaged by assaults from Italian, French and German troops; a bastion, known as tenaglia was added, perhaps designed by Cesare Cesariano. After the French victory in the 1515 Battle of Marignano, the defeated Maximilian Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the castle. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated. In 1521, in a period in which it was used as a weapons depot, the Torre del Filarete exploded. When Francesco II Sforza returned briefly to power in Milan, he had the fortress restored and enlarged, and a part of it adapted as residence for his wife, Christina of Denmark.
Coat of arms of Galeazzo Maria Sforza, painted on an interior ceiling.
Under the Spanish domination which followed, the castle became a citadel, as the governor's seat was moved to the Ducal Palace (1535). Its garrison varied from 1,000 to 3,000 men, led by a Spanish castellan.[2] In 1550 works began to adapt the castle to modern fortification style, as an hexagon (originally pentagon)-shaped star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25.9 hectares.[4] The castle remained in use as a fort also after the Spaniards were replaced by the Austrians in Lombardy.
Journal of Jean-Claude Locquin describing the trenches made around the castle during the Napoleonic rule. Archives nationales de France.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a 700-by-700-metre (2,300 by 2,300 ft) square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration works, directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central tower, known as the Torre Filarete, above the main city entrance was rebuilt, on the basis of 16th-century drawings, between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
FOR A DETAILED DESCRIPTION:
en.wikipedia.org/wiki/Sforza_Castle
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.470281&lon=9.180381...
*************************************************************************************
“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
*************************************************************************************
Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
architects: BBPR (banfi, barbiano di belgiojoso, peressutti, rogers)
torre velasca, mixed-use tower, milano 1950-1958
The Velasca Tower, Milan. 26 floors, 106 m tall, mixed use (commercial and residential). Designed by the Milan architect firm BBPR (Banfi, Belgiojoso, Peressutti & Rogers), 1958. In case you wondered, this Rogers (Ernesto Nathan Rogers, 1909-1969) was a cousin of the Pritzker-laureate Sir Richard Rogers (1933-2021).
The building in recent years was owned by the Italian Unipol bank, which gradually emptied the building of its tenants, with a view to sell it. This finally happened towards the end of 2019, when it was acquired by the US company Hines. The new owners plan to renovate it to the extent permitted by the building's landmark status and reopen it in 2022, with a total investment of 200 million Euros (purchase and renovations).
Foto scattate in occasione del CONVEGNO INTERNAZIONALE
"FOTOGRAFIA PER L'ARCHITETTURA
DEL XX SECOLO IN ITALIA"
Costruzione della storia, progetto, cantiere
24-25 Novembre 2016 Milano (Italy)
© 2016 GAZ BLANCO | www.gaZblanco.com | facebook.com/gaZblanco
Foto scattate in occasione del CONVEGNO INTERNAZIONALE
"FOTOGRAFIA PER L'ARCHITETTURA
DEL XX SECOLO IN ITALIA"
Costruzione della storia, progetto, cantiere
24-25 Novembre 2016 Milano (Italy)
© 2016 GAZ BLANCO | www.gaZblanco.com | facebook.com/gaZblanco
D815_223
17/02/2016 : Milano, via Ulrico Hoepli/piazza Filippo Meda/via Adalberto Catena: libreria Hoepli (Luigi Figini, Gino Pollini, 1955-59); uffici della Chase Manhattan Bank (BBPR, 1958-69)
architects: BBPR (banfi, barbiano di belgiojoso, peressutti, rogers)
torre velasca, mixed-use tower, milano 1950-1958
a london newspaper recently named the torre velasca one of the ugliest buildings in the world, suggesting - if nothing else - that trump is right about the press. dismissed by journalists today as brutalism, the tower was originally dismissed by british brutalists for not being brutal enough. reasons change, stupidity prevails.
but so does the house in question, and its reddish concrete panels ablaze in the italian sunset make prefabrication look like a thing of beauty. a certain playfulness in the placement of windows and interior balconies offer the powerful image or fantasy of a vertical city. its exposed neo-gothic frame and violently angular silhouette could only derive from some magnificent ancient source, awaiting discovery. it puzzles, but moves you too.
enesto rogers of the BBPR partnership had written and published extensively on the subject of continuity in architecture, on the need for modernism to reinvent itself as a mediation between historical precedent and contemporary culture. yet, looking at the tower, any method in his madness remains elusive. modernism had promised a right way to do architecture, but how do you arrive at the torre velasca?
rogers' students, who included aldo rossi and giorgio grassi, would be more rigorous in method and altogether less exciting in execution - perhaps due to the reception of his tower: rayner banham wrote of the Italian retreat from modernism while peter smithson criticised ernesto rogers personally at the final CIAM meeting in 1959, calling his work dangerous and immoral.
that same year, 1959, the smithsons began work on a tower of their own, the economist building in london, and it is tempting to read into their design an answer to ernesto rogers and the work of BBPR in milan.
rather than stacking different functions and different building depths, the smithsons split their program into three smaller buildings on a shared plinth, minimising its impact on the london skyline. their sensitivity to the surrounding victorian architecture was not only unusual for the period, it was unexpected coming from the famously unsentimental smithsons.
it was a more dignified critique of ernesto rogers, too, than the personal attack at the CIAM meeting, except that this sensitivity towards the historical urban fabric was exactly what ernesto rogers had been calling for. the smithsons were outdoing rogers at his own game, even repeating his powerful neo-gothic verticals.
and that was the strangest of cross-contaminations, given that neither london nor milan are gothic cities, but rogers' idea of continuity in architecture was ultimately spiritual, as he would have insisted himself, a thing of the mind.
architects: BBPR (banfi, barbiano di belgiojoso, peressutti, rogers)
torre velasca, mixed-use tower, milano 1950-1958
the famously exposed constructions of the cantilever, hardly necessary in a modern concrete building. a touch of violet-le-duc here and his famous reinterpretation of the gothic in iron and stone. ideas take the strangest routes in architecture.
A skyscraper built in 1950s by the BBPR architectural partnership, in Milan, Italy.
The shape of the building is the result of a modern interpretation of the typical Italian medieval castle.
It was introduced to me by the tour guide as one of the most unsightly buildings of Milan.
500_375
avril 2022 - Milano
via Cavalieri di San Sepolcro/via dei Chiostri/via Solferino: complesso residenziale in via Cavalieri di San Sepolcro (BBPR, 1961-68)
Even though the construction of the Pavesi Autogrill chain represented an economic and social phenomenon of noteworthy relevance in Italy, it should not go unnoticed that the history of contemporary architecture treated in a very marginal way the description of these works, in some instances, maybe in the post-modern revaluation of a generic Italian highway “landscape” observed at the most for its phenomenological implications rather than for the fact it belonged to the typology of city building through architecture.
It is a fact that these buildings were left out of the most authoritative research of the years of economic reprise after World War II. Immediately before, in the years of Reconstruction, the traditional masonry technique was progressively converted into a modern“Neo-Realistic” language for some aspects, especially evident in the first residential INA-Casa neighborhoods, according to specific Italian characteristics of interpretation of the Modernist Movements that became famous worldwide through the works of architects that had already been very unconventional experimenters in the cultural landscape of the years preceding the war: Albini, the BBPR ( and the writings of Ernesto Nathan Rogers), Quaroni, Samonà, Gardella, Ridolfi, that can be contextualized also in the works of a culturally engaged entrepreneur like Adriano Olivetti.
The buildings by Angelo Bianchetti for the Pavesi Autogrills designed like bridges crossing the highway are far from this cultural landscape, and were born in the context of those forms of entertainment and leisure time activities brought on by the economic prosperity and by the idea of progress linked to the euphoria of speed and of car travel.
Nonetheless these buildings deserve to be considered as works of art at least for two reasons. First of all, because the technological gradient follows the criteria of experimentation of shapes and structural frames in the exposure of beaming, in the projections of the shelves, in the wide, light, and transparent continuous windows, in the slim metal frames well designed to support the advertising billboards: a criteria embedded in the history of architecture whose roots are founded on a continuity of thought and on a modern “spirit of the times” that is daring and evokes emotions.
Secondly, we can catch a glimpse of a territorial projection of architecture that shows attraction for large scale dimensions (both geographical and commercial), and for a certain poetical spirit of of “megalithic structures” that in a short period of time became a rather recurrent composition theme especially in the important tenders for the contracts of the directional centers of Turin (1962) and for the Sacca del Tronchetto in Venice (1964), and that were reintroduced in the history of modern architecture by the famous book by Reiner Bahnam[1].
As a phenomenon, the bridge architecture of the Pavesi Autogrills is impressed in the collective memory of the Italian highway landscape even though their construction is circumscribed to about twelve such buildings in the course of about ten years, between 1959 and 1972, in the same period in which the Italian highway system developed.
Still today, going through these works of “advertising architecture” that nowadays show subdued colors with respect to the surrounding landscape thanks to a restyling, awakens the attention of hasty travelers that can see the Autogrills arising from a great distance or appearing all of a sudden between a sequence of bridges to disappear in a moment at one’s back, leaving an impression in the memory of crossing something extremely vital, like a fragment of a city. Unusual an beautiful perspectives vertiginously attracted by the dynamic perception of vehicles appeared in the eyes of those who stopped there and sat at the tables facing the highway lanes, especially of the countryside of the Po River Valley.
Because of this fascination with the landscape of a modern territory, the localization of bridged Autogrills did not follow the false ambition of aesthetics in the quest for a setting that could be compatible with the surrounding scenery or that could be particularly persuasive, but on the contrary, these bridges were located strategically on the territory according to a design that was very coherent with a market strategy that was starting to understand that rest areas for car travelers were a new large commercial sector and a channel for the diffusion of novelty food products.
This concept, genuinely based on the market and on novelty foods merchandising, followed a system of modern objects which were strictly connected to a new industrial culture that was developing in those times.
But the real innovation which came was to be that of typology, probably born around a planning table rather than at the design desk by the ideas of architect Bianchetti and entrepreneur Pavesi, and surely in a moment of conjunction between the innovative and open industrial culture ad an architectural culture that even before those times had developed interesting experiences and experimental works through the forms of the Modernist Movement, catching the attention of international culture.
Therfore the diffusion of the Pavesi Autogrills started with the intuition that Mario Pavesi had of a possible market for a chain of highway restoration points, and this became a solid reality with the first rest area in Novara along the stretch of the Turin-Milan highway. This industrial strategy, joined with the forms of advertising architectures by Angelo Bianchetti, made it possible to construct about one hundred restoration points in the span of about twenty years from 1959 to 1978, with about fifty of these being full size Autogrills.
During an initial phase of formal structuring that cannot be precisely indicated by temporal references, the first rest areas were located laterally with respect to the highway in Lainate (Milan, 1958), in Ronco Scrivia (Genoa, 1958), and in Varazze (Genoa, 1960), and featured large steel arches painted in white that supported the logotype and were placed on top of circular transparent structures containing a bar and shelves to sell products. These still followed the architectural matrix of pavilions made for fair exhibits, but with a substantial difference in the fact that their silhouette stood out against the Italian countryside landscape of the time creating a unique and surprising setting. The bridge typology was the evolution of this asymmetrical disposition of rest areas on one side of the highway with an underpass that made them reachable from the other lane. The first example of bridged rest areas for the Pavesi chain (and perhaps the first one in the world), was the rest area of Fiorenzuola d’Arda (Piacenza, December 21, 1959).
Therefore, it seems possible that he phenomenon of the birth and the diffusion of the highway rest areas, especially for what concerns the definition of the bridge typology and for a certain quality of the services offered, originated in Italy. Bianchetti himself attests this in an interesting report of a journey published by the magazine “Quattroruote” (four wheels) in 1960, describing the diffusion of auto-grills areas observed during his travel in the United States and in Germany and comparing it with the Italian situation. In this writing, there is a striking recognition of a contemporary trend in the making of similar structures: Bianchetti illustrates the project of a bridged rest area in Illinois by the Standard Motor Oil chain, and praises the high quality of the environment of the rest areas of the Howard Johnson chain.
«I learned that architects Rinford and Genther are building in Chicago an extremely new design, and I reached them by taking a flight. The two architects work for Pace Associates, a studio of Italian origins, and their first constructions are being completed at a few tens of kilometers from the metropolis: it is a series of five restaurants bars. In general, they look like the ones that will be built on our Autostrada del Sole.
I reached one of these areas that has already been completed at about fifty kilometers from Chicago by car. It is built like a bridge on the highway, with the use of prefabricated cement structures, and the rest area, when seen from a distance, looks like a massive overpass.
At night, with the light reflecting on the walls made of smoothed glass, it gives you the idea of a ship. Once again, prefect signposting and the agile game of “four leaf clover” exits facilitate the passage of clientele: the psychological tests confirm that the decision of stopping does not impose any conscious effort of will on the driver. To avoid the problem of stairs and elevators, the builders even provided to raise the entire area of parking lots and platforms. You can reach the level of the “restaurant floor” by car. But how much will one of these colossal structures cost, without considering the cost of parking lots, of lanes, signposting and many more indispensable accessory expenses?
The two architects informed me that the average expense is of about one billion Italian Lire. The surprising kitchen tools made of stainless steel that you can find in detailed description in a book of three hundred pages cost a little less of two hundred million Lire alone. It is a real treatise»[2].
Among the bridged Autogrills that followed shortly after this period, we find the Abraham Lincoln Oasis by David Haid on the Northern Illinois Highway of circa 1967, with its elegant and minimal geometries of steel beams and glass and with its use of the criteria of access ramps to parking lots to reach the restaurant level. In Italy, we must take note of some bridged rest areas of the Motta chain in Cantagallo by Melchiorre Bega, and in Limena by Pier Luigi Nervi.
In any case, the construction of bridged Autogrills increased the possibilities of access, but their limitations in the possible increase of utility ad renewal seemed perhaps too binding and costly in the massive increase in highway traffic of the 1980s, determining the actual exhaustion of possibilities for this extremely interesting typology, as Angelo Bianchetti himself at the time recalled in one of his short writings of 1979, underlining a paradoxical situation of inadequacy to the market in a climate of full economic recession and energetic crises.
«[…] the cost of a bridge with all of its accessories was clearly lower than that of two lateral Autogrills, without mentioning that noteworthy savings on operating costs, both for the installation and for the personnel. The visibility at a distance is much more immediate of that which a later Autogrill offers: let us not forget that a driver traveling at a speed of 120—140 kilometer per hour must decide in a few seconds whether to enter or not the ramp of deceleration.
In conclusion, the advertising image of a bridge is by itself more effective and of sure appeal. […]. Today the situation has changed. The huge increase of costs (fuels, cost of operating machines) has slowed down the flow of traffic and has reduced the user’s spending possibilities.
The cost of construction with respect to 1972 is almost fourfold, and it has increased terribly. All this imposes a revision of the investment policies; the tendency today is not to build new Autogrills but at the most new snack-bars connected to a nearby gas station. It not feasible anymore to build a bridge, unless in an extremely well established service area of large traffic that can guarantee the constant flow and support of travelers»[3].
The numerous formal variation of these bridge installation extended the possibilities for signposting through flagpoles dressed up with the Pavesi flags like ships on a dock, or through some functional increases, like the annexation of a motel. The one in Novara (1962), that replaced a previous service station and that was the largest one built, and the one in Osio (Bergamo 1972), the last to be built with bridge typology, were identical in lines and shapes and were perhaps the most successful ones, while the one in Montepulciano (Siena, 1967) features an extremely striking and apparently suspended beaming and a projection of Corten steel. Lastly; the one in Nocera (Salerno, 1971), presents an interesting combination with the function of motel, attempted as an enlargement project in the one in Novara as well, but then never built. The other bridged ones are in Sebino (Brescia, 1962), Feronia (Rome, 1964), Frascati (Rome, 1963), Soave (Verona, 1969), Rezzato Nord (Brescia, 1970).
Nonetheless some characteristics remained a constant, like a certain formal uniqueness and sense of completion of the construction that gave a full rounded perception of the buildings even in the headboards frequently crowned by a large cantilever staircase. This can be seen clearly in period photos and it is less noticeable nowadays because of the frequent addition of low lateral tourist market buildings and because of softer colors used. The chromatic treatment of the metal sun shading roofs (a bright red color) became the distinctive feature of Pavesi Autogrills and circumscribed the building itself in the whole, while the balanced collocation of the few billboards did not enter into conflict with the gasoline signposts but on the contrary seemed to match them, and at night these were lit by their own lights. Moreover some gasoline stations designed by Bianchetti like the one in Sabino for Esso, distinguished themselves for the essential nature and elegance of structures with tall and slender signs and prismatic elements for the buildings.
The inside was indeed surprising for the type of light that filtered as a reflection and for the continuous perception of the dimension of inner space as a whole due to a longitudinal disposition of the counters and to the a contined set up of the product shelving, evoking a perception of the Autogrill as a self standing unit animated by its own life in the multiplicity of people that entered there.
The setting implied a reduction of the strictly communicative aspects to the simple interior design of the space, with a playful sense in the disenchanted and free style collage of Baroque and modern elements like the large glass drops chandelier in Lainate that appeared on the pages of “Life” magazine, or the Vietri ceramic tiles flooring frequently utilized, or the woven wicker baskets used as displays for the Pavesi products, to the concise inner signs that retraced the highway signs and to the essential lines of the American style counters with stools. It was anything but a coordinated image, but in the end it was a greatly coherent setting with regard to expressiveness, and it was handled case by case solely through the architecture, without any apparent preoccupation with the integration of aesthetics except perhaps the idea of a vanguard collage that actually was a trend in the taste in advertising graphic art of those years (especially for Erberto Carboni) and that had its origin in the experiments in modern architecture made between the two wars, as we will shortly see.
Lastly, a third typology of construction contemporary with the bridged one was a design foreseeing a restaurant area lateral to the highway with a red sheet metal covering with four layers which was much more flexible in adapting to dimensions.
Alongside with the wide diffusion of Pavesi Autogrills (Alivar- Pavesi), Motta Autogrill and Alemagna Autobar (ex-Unidal) chains developed in Italy, and then were ex-corporate from their respective head companies on February 28, 1977 and regrouped in to the Autogrill spa society that today manages all of the restoration points along the highway.
The experimental tradition of “advertising architecture”
The experiences made by Angelo Bianchetti (born in 1911 and died in 1995) before World War II are extremely interesting and represent an very significant anterior fact to understand the reasons that brought to the long collaboration with Pavesi. A graduate in Architecture of the Milan Polytechnic in 1934, he traveled to study in Germany, worked in Berlin for the Mies van del Rohe studio and for the Luckard brothers studio, and met Gropius and Breuer.
In Italy, he worked with Giuseppe Pagano on a few projects in 1938 thus completing an itinerary that crossed the most significant episodes of modern architecture of our century, following a tradition of international exchanges that at the time was widely spread. As a project designer, often together with Cesare Pea, he worked on a number of architectural layouts for exhibits and advertising pavilions for fairs, and became one of the main protagonists of a theme of construction that back then was completely new – the theme of exhibit architecture, a culturally important and acknowledged theme in the landscape of modern international architecture.
This was a theme on which the most important architects, graphic designers and artists of the cultural Italian scene between the two wars had a lively debate, especially during the era of Fascism, that saw in it a real modernity of communication and a dose of inventive ruthlessness and cultural availability together with the ability to give the large industrial groups occasions to promote their modern and cosmopolitan image (though a dictatorial one) in Italy and abroad through important international expos.
Therefore, modern Italian architecture in those years was able to channel the needs of propaganda within the paths of a history of art and within those plastic and figurative values that were more attentive to moral issues. In this sense, the possibilities for formal experimentation that architecture made possible back then established a few solid principles of an Italian rationalistic poetical style that was intended as expression of a lyricism and that had no equal in later years.
The “Casabella -Costruzioni” magazine directed by Giuseppe Pagano, reported on numerous occasions the main exhibits made in the heroic period that goes from 1925 to 1940 in which Angelo Bianchetti took part as the author of beautiful set ups together with other important emerging names like Erberto Carboni, Marcello Nizzoli, Bruno Munari,t the Boggeri studio (that in the years following the war we will find working for Barilla, Olivetti, Agip, …).
Of these exhibit set ups, we must mention the pavilions by Edoardo Persico and Marcello Nizzoli for the Italian Aeronautical Expo of Milan in 1934; the Gio Ponti and Erberto Carboni pavilions for the Exhibit of Catholic Press at the Vatican in 1935; the set up of the Hall of Victory at the VI Triennial Expo of Milan of 1936 by Nizzoli, Palanti, Persico, Fontana (in those times already referred to as “a work of rare and highest poetry”); the Italian pavilions for the Paris Expo of 1937 with the intervention of the most important Italian architects; the pavilion by Bianchetti and Pea and the Boggeri Studio for the Isotta Fraschini company at the Fair of Milan in 1938; the luminous surface tensions by Nizzoli and Bianchetti at the National Textiles Exhibit in Rome in 1939; the Bianchetti and Pea pavilions for Raion and for Chatillon at the Milan Fair of 1939, formed by a lightweight frame with three orders and covered by light ad small vaults shaped like a transparent and lyrical honor tribune in the way that only Italian Rationalism was able to do.
These operations for temporary set ups connected the languages of abstraction and of the pure forms of international Realism with a Baroque vein expressed in the combination of graphic and sculptural elements, in the use of curtains and of narrative naturalistic elements (from the sculpture by Fontana for the Hall of Victory at the Triennial Expo of 1936 to the advertising signs of the textiles pavilion, according to a poetic and rather unique idea of collage that was very original in the landscape of modern architecture.
Very important in order to comprehend the pragmatic spirit of this theme for the architectural modern culture of those times is a writing by Angelo Bianchetti and Cesare Pea of 1941 on the theme of advertising architecture that establishes some characteristics that were undoubtedly reprised in the exhibit architecture of the years after the war and that created the premise for the Italian highway landscape of advertising architecture.
First of all, what is striking about this writing is the concept that these architectures can serve the function of contributing in a positive way to the definition of a new urban landscape already projected towards the torments of an undefined territory structured with fair headquarters and sport centers, theme parks, shopping centers and highway congestion points, starting from the occasion of an advertising set up intended in architectural terms.
Secondly, these constructions are not just inserted in a system of means of transportation to guarantee elevated accessibility, but also to accentuate the dynamic perception of the whole, and in this sense the relationship between bridged Autogrills and the highway exalts the aesthetics of kinematics.
In third place, it is striking that architecture partially renounced some building aspects to rediscover the values and new aesthetic concept of monument through a combination of signposting, graphic, and visual communication that penetrates indoors, in the furnishings, and recomposes a unity of applied arts.
«Le Corbusier and M. Breuer build their advertising architectures on the base of their artistic abilities more that to their architectural skills. An active pictorial imagination gives the project designer the possibility to renounce to give an entirely constructional and formally still aspect to his own pavilion. We think that this can be conceived in such a way to appear based on a single structure with the use of substantially different solutions. The ideal pavilion from the advertising point of view is one composed of fixed elements related to the laws of building statics that at the same time offer to the imagination different possibilities of a practical nature, that can be made also in successive phases. Therefore, not a facade defined architecturally, even though beautiful, but a system of elements and fields in which to express the imaginative spirit of the decorator. In such a way the abilities of a good architect and interior designer can fully develop: the study of the structure will bring him to intuitions of rational architectural order, while the expressive possibility will lead him to use these elements with the highest freedom and to create works of pure artistic design.
The appeal of the suggestive elements that advertising work must express will come from the fusion of these two possibilities. All which modern technique gives the artist as a support, the new materials, new systems of lighting, the cinematographic aspects, the mechanical devices, can concur to the perfection and complexity of the work that the artist conceived with his own imagination. But the use of these elements is part of the generic knowledge of an architect that are not the object of this study.
Instead, the problem that originates from the combination of various pavilions and advertising elements of a Fair or Exhibition forms a chapter of advertising urban planning whose direction would deserve an in depth study»[4].
Architecture and the design of new industrial products in Italy after World War II
The concept of industrial and market that arose in the years after WWII in Italy and throughout all of the 1950s and 1960s can be definitely found in the geographical area between Milan and Turin, the area of the initial development of the highway system, and of the modern democratic entrepreneurial cosmopolitan and culturally engaged world of Olivetti, and of Pavesi of Novara.
It is not a chane that the magazine “Comunità” (community) founded by Adriano Olivetti was engaged in those years in themes of architecture and urban planning and also with sociology in its different aspects of urban development, mass behavior, industrial production, and published studies on advertising and the unconscious mind on the organization of Shopping Centers in the United States, on the Italian highway landscape, or on food consumption in Italy[5].
These themes surfaced with full force in the concerns of the Italian entrepreneurs that frequented the most densely industrialized areas of the United States (especially the West Coast) and in a certain sense these were ideas that could be actualized in Italy as well at least in the smartest industrial sectors that were capable to invest in development.
This is certainly the economic context in which the construction of the Pavesi Autogrills was inserted. The idea of modern times and social well being that pervaded the aesthetics of Pavesi Autogrills was based on a completely new food product, the Pavesini cookies and the Crakers, produced on a large industrial scale as never before, and tied to lifestyles and psychologies of use that for the first time in those years surfaced and of which there was full awareness.
But because of the structure of Italian cities, in which the residential Ina-Casa neighborhoods typical of the intensive urban growth of the northern cities tended towards a landscape that was still close to that of a compact city, the shopping centers of the time were of a typology of sales too radical to be proposed, while the Autogrills located on the highways cold well enough be interpreted in this sense as a sales point for novelty industrial products diffused on the territory, in which the market strategies could be applied directly without intermediaries and a modern and cosmopolitan image could be promoted.
The relationship of entrepreneurship and architectural design between Mario Pavesi and Angelo Bianchetti, as well as the relationship with other intellectuals for other more literary and clearly marked graphic forms of communication should not be intended as a cultured construction of corporate identity, nowadays necessarily corresponding to a quote of production that each industrial activity must possess, but as something more complex and with roots going deep into a specific ability of the Italian industrial culture (that with the refined work of Adriano Olivetti reached its apex) to use as its own the tools of communication in the system of behaviors of producers and consumers.
Therefore here it is not solely a matter of refined design of of stylized image but rather of the fine tuning of tools strictly connected to the production and distribution of products, tools in which the aesthetically implications had a place of relevance. A rather significant parallelism involving architecture in the processes of industrial communication happened in the United States at the same time, in the 1950s and 1960s, as the top industries of the time like IBM or the TWA aerial transportation company, for example, asked innovative architects like Charles Eames (who mounted elaborate films and avant-garde multi-vision materials), or Eero Saarinen (who made phantasmagorical theaters for the international expo and to animate the horizons of airports with forms made of cement or crystal and evoking emotions)[6].
These companies entrusted them by delegating the task of building the company image according to a culture of conquest of the new that we still find nowadays, but acted in a different environment, more determined and structured in an entrepreneurial way and in which the need for aesthetics of the object of use was less of a priority, for example, even though often reached results of the highest quality.
But in Italy everything was different: for example, the design by Marcello Nizzoli for a calculator, or the one by Carlo Scarpa for an Olivetti store, or the one by Erberto Carboni for Barilla pasta, or the advertisement for Pavesi cookies written by Gianni Rodari as children literature, were necessary elements of a new concept of the object of use an the work of intellectuals in this context was instrumental to the comprehension of the new industrial products in a domestic and working landscape that was still formed in part by handcrafted objects (and still today attracted strongly by the components of originality and personality also in the aesthetic choice).
Who in Italy would have bought Pavesi, Barilla, and Olivetti products, for example, if a group of food intellectuals had not converted the packaging for food and machines into a new culture of merchandise?
Bibliography note
We thank for his patience and collaboration architect Jan Jacopo Bianchetti who keeps the archive of Angelo Bianchetti’s work and has given permission for the reproduction of the photographic material, the designs and the publications related to the Pavesi Autogrills.
Among the writings of Angelo Bianchetti we mention: Bianchetti, C. Pea, Architettura pubblicitaria (advertising architectures), in “Casabella-Costruzioni”, n.159-160, 1941, a mono-graphic issue dedicated to the architecture of expos with rich iconography documentation edited by Bianchetti and Pea themselves. ; A. Bianchetti, Le oasi dell’autostrada (highway oasis), in “Quattroruote”, n.1, January 1960; A. Bianchetti, I ponti non convengono più (bridges are not convenient anymore), in “Modo”, n.18, April 1979.
Furthermore, it is opportune to cite: Italian luxury for export and those at home, too “Life” 26 September 1960; R. WEST, Italy: the new lean Bread of Eurocrats, “The Sunday Times”, 26 August 1962; C. MUNARI, Lo stile Pavesi (thepavesi style), in “Linea Grafica”, n. 5, September-October 1966, pp. 240-252; A. Colbertaldo, Quando si mangiava sopra i ponti (when we had lunch on bridges), in “Modo”, n. 18, April 1979; M. BELLAVISTA, Uomo di marketing prima del marketing (a marketing man before the times of marketing), in “Il Direttore Commerciale”, n. 7, 1988, pp. 16-21; B. Lemoine, I ponti-autogrill (the auto-grilll bridges), in “Rassegna”, n.48, December 1991.
We mention two more accounts of the actual phenomenon of the development of highway landscapes: P. DESIDERI, La città di latta. Favelas di lusso, Autogrill, svincoli stradali e antenne paraboliche (The tin city. Luxury Favelas, Autogrills, highway exits and parabolic antennas), Genova, Costa e Nolan, 1997; P. CIORRA, Autogrill. Spazi e spiazzi per la società su gomma (Autogrills, spaces and platforms for a society n wheels) , in Attraversamenti. I nuovi territori dello spazio pubblico (Crossings. The new territories of public spaes), edited by P. DESIDERI e M. ILARDI, Genova, Costa e Nolan, 1997.
[1] R. Banham, Megastructure. Urban future of the recent past, Londra, Thames and Hudson, 1976, the text does not illustrate these highway buildings.
[2] A. BIANCHETTI, Le oasi dell’autostrada (the highway oasis), in “Quattroruote”, n. 1, January 1960.
[3] A. COLBERTALDO, Quando si mangiava sopra i ponti (when we had lunch on top of bridges), in “Modo” n.18, April 1979.
[4] A. BIANCHETTI, C. PEA, Architettura pubblicitaria (advertising architecture), in “Casabella-Costruzioni”, n. 159-160, 1941.
[5] A. CANONICI, Pubblicità ed inconscio (advertising and the unconscious mind) in “Comunità”, n.60, 1958; A. BAROLINI, L’organizzazione dei centri di vendita in America, (the organization of sales points in America) in “Comunità”, n.67, 1959; R. BONELLI, Le autostrade in Italia (highways in Italy), in “Comunità”, n.86, 1961; G. TIBALDI, I consumi alimentari in Italia (food consume in Italy), in “Comunità”, n.115, 1963.
[6] Eero Saarinen, Charles Eames, Padiglione Ibm alla Fiera mondiale di New Yorkn(the Ibm pavilion at the worl expo of New York), 1964-65, well described by Kevin Roche, Charles Eames, in “Zodiac”, n.11, 1994. #30Glorieuses & Dynamisme @ les kilométres d' #archives cachées d #Mémoire2cité @ les #Constructions #Modernes #BANLIEUE @ l' #Urbanisme & l es #Chantiers d'#ApresGuerre ici #Mémoire2ville le #Logement Collectif* dans tous ses états..#Histoire & #Mémoire de l'#Habitat / Département territoire terroir region ville souvenirs du temps passé d une époque revolue #Archives ANRU / #Rétro #Banlieue / Renouvellement #Urbain / #Urbanisme / #HLM #postwar #postcard #cartepostale twitter.com/Memoire2cite Villes et rénovation urbaine..Tout savoir tout connaitre sur le sujet ici via le PDF de l'UNION SOCIALE POUR L HABITAT (l'USH)... des textes à savoir, à apprendre, des techniques de demolition jusqu a la securisation..& bien plus encore.. union-habitat.org/sites/default/files/articles/documents/...
www.dailymotion.com/video/xk6xui Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.
Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUD
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées. Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction. Titre : Sur les routes de France les ponts renaissenT Année de réalisation : 1945 Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports
Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris.
Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije -Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ».
Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl)
www.dailymotion.com/video/xuz3o8?playlist=x34ije ,
Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952.
Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ / - www.union-habitat.org/ / - www.institutfrancais.com/sites/default/files/dp_expositio... archives-histoire.centraliens.net/pdfs/revues/rev625.pdf tel.archives-ouvertes.fr/tel-00554230/document Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUD
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées. Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction. Titre : Sur les routes de France les ponts renaissenT Année de réalisation : 1945 Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transport
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris.
Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije -Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ».
Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl)
www.dailymotion.com/video/xuz3o8?playlist=x34ije ,
Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952.
Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ / - www.union-habitat.org/ / - www.institutfrancais.com/sites/default/files/dp_expositio... archives-histoire.centraliens.net/pdfs/revues/rev625.pdf tel.archives-ouvertes.fr/tel-00554230/document .le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec
Milano, piazza Velasca, Torre Velasca (BBPR- Lodovico Barbiano di Belgiojoso, Enrico Peressutti ed Ernesto Nathan Rogers, 1951-58)
Castello Sforzesco (English: Sforza Castle) is a castle in Milan, Italy, that used to be the seat and residence of the Duchy of Milan and one of the biggest citadels in Europe. It now houses several of the city's museums and art collections.
History
The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of the rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse, which contains ceiling paintings by Leonardo da Vinci.
After the French victory in the 1515 Battle of Marignano, the defeated Massimiliano Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the Castello Sforzesco. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated.
The castle in 16th century
Under the Spanish domination, the castle was developed: between 15th and 16th century, it had a garrison of some 1000 to 3000 men, and was one of the biggest citadels in Europe. It became a star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25,9 hectares.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a vast 700m by 700m square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration work, which was directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
The Castello Sforzesco is a medieval fortification located in Milan, northern Italy. It was built in the 15th century by Francesco Sforza, Duke of Milan, on the remnants of a 14th-century fortification. Later renovated and enlarged, in the 16th and 17th centuries it was one of the largest citadels in Europe. Extensively rebuilt by Luca Beltrami in 1891–1905, it now houses several of the city's museums and art collections.
The original construction was ordered by Galeazzo II Visconti, a local nobleman, in 1358 – c. 1370;[1] this castle was known as the Castello di Porta Giova (or Porta Zubia), from the name of a gate in walls located nearby.[2] It was built in the same area of the ancient Roman fortification of Castrum Portae Jovis, which served as castra pretoria when the city was the capital of the Roman Empire. It was enlarged by Galeazzo's successors, Gian Galeazzo, Giovanni Maria and Filippo Maria Visconti, until it became a square-plan castle with 200 m-long sides, four towers at the corners and up to 7-metre-thick (23 ft) walls.[2] The castle was the main residence in the city of its Visconti lords, and was destroyed by the short-lived Golden Ambrosian Republic which ousted them in 1447.
In 1450, Francesco Sforza, once he had shattered the republicans, began reconstruction of the castle to turn it into his princely residence. In 1452 he hired the sculptor and architect Filarete to design and decorate the central tower, which is still known as the Torre del Filarete. After Francesco's death, the construction was continued by his son Galeazzo Maria, under the architect Benedetto Ferrini. The decoration was executed by local painters. In 1476, during the regency of Bona of Savoy, the tower bearing her name was built.
In 1494 Ludovico Sforza became lord of Milan, and called on numerous artists to decorate the castle. These include Leonardo da Vinci (who frescoed several rooms, in collaboration with Bernardino Zenale and Bernardino Butinone) and Bramante, who painted frescoes in the Sala del Tesoro; the Sala della Balla was decorated with Francesco Sforza's deeds. Around 1498, Leonardo worked on the ceiling of the Sala delle Asse, painting decorations of vegetable motifs. In the following years, however, the castle was damaged by assaults from Italian, French and German troops; a bastion, known as tenaglia, was added, perhaps designed by Cesare Cesariano. After the French victory in the Battle of Marignano in 1515, the defeated Maximilian Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the castle. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated. In 1521, in a period in which it was used as a weapons depot, the Torre del Filarete exploded. When Francesco II Sforza returned briefly to power in Milan, he had the fortress restored and enlarged, and a part of it adapted as a residence for his wife, Christina of Denmark.
Under the Spanish domination which followed, the castle became a citadel, as the governor's seat was moved to the Ducal Palace (1535). Its garrison varied from 1,000 to 3,000 men, led by a Spanish castellan. In 1550 works began to adapt the castle to modern fortification style, as a hexagonal (originally pentagonal) star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25.9 hectares. The castle also remained in use as a fort after the Spaniards were replaced by the Austrians in Lombardy.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonaparte. The area on the "country" side of the castle was laid out as a 700-by-700-metre (2,300 by 2,300 ft) square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration works, directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on an axis with the main gate. Between 1900 and 1905 the Torre del Filarete was rebuilt, on the basis of 16th-century drawings, as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
The castle has a quadrangular plan, on a site across the city's walls. The wall which once faced the countryside north of Milan has square towers and an ogival gate. This was once accessed through a drawbridge. The northern tower is known as the Torre della Corte, and its counterpart to the west the Torre del Tesoro; both received wide windows during the Sforza age.
The corner defended by the Torre Ducale is characterized by a loggia bridge, attributed to Bramante, and commissioned by Ludovico Sforza in the late 15th century to connect the Corte Ducale (the court in the area used as a ducal residence) and the Cortile della Ghirlanda. This ghirlanda refers to a wall, protected by a ditch filled with water, built under Francesco Sforza, of which few traces remain today, including the Porta del Soccorso. Remains of two later ravelins can be seen in correspondence of the point in which the castle was joined by the city walls (near the Porta Comasina gate) and the Porta del Carmine. The Porta della Ghirlanda gate was entered through a ravelin (now lost) and had two entrances accessed through runways, which lead to an underground passage which continued along the walls.
The external side which once faced the walled city has two round towers, commissioned by Francesco Sforza to replace the former square ones, which had become less suitable to defend against fire weapons. The central tower, called the Torre del Filarete, is a modern reconstruction. The round towers lost their upper parts under the Austrians, who needed open space for their artillery; the towers' present-day upper sections are modern reconstructions. The Torre del Filarete and the Porta del Santo Spirito, located further to the south, are both preceded by a ravelin.
The main gate leads to a large court from which several internal features can be seen. These include the Tower of Bona of Savoy (1476) and the Rocchetta, a sort of internal defensive ridotto with a gate of its own. At the right of the Porta del Carmine are the remains of two 15th-century courts. The Rocchetta, whose access gate from the main court (a modern addition) features the Sforza coat of arms, has an internal court with, on three sides, a portico with 15th-century arcades. The Corte Ducale is the wing of the castle originally used as a ducal residence; it features a court with two loggias, a smaller one on the left and a larger one at its end, called Loggiato dell'Elefante due to the presence of a fresco of an elephant.
Milan is a city in Northern Italy, regional capital of Lombardy, and the second-most populous city proper in Italy after Rome. The city proper has a population of about 1.4 million, while its metropolitan city has 3.22 million residents The urban area of Milan is the fourth largest in the EU with 5.27 million inhabitants. According to national sources, the population within the wider Milan metropolitan area (also known as Greater Milan), is estimated between 4.9 million and 7.4 million making it by far the largest metropolitan area in Italy and one of the largest in the EU. Milan is the economic capital of Italy and is a global financial centre. Milan is, together with London, Hamburg, Frankfurt, Munich and Paris, one of the six European economic capitals.
Milan is a leading alpha global city, with strengths in the fields of art, chemicals, commerce, design, education, entertainment, fashion, finance, healthcare, media (communication), services, research and tourism. Its business district hosts Italy's stock exchange (Italian: Borsa Italiana), and the headquarters of national and international banks and companies. In terms of GDP, Milan is the wealthiest city in Italy, has the third-largest economy among EU cities after Paris and Madrid, and is the wealthiest among EU non-capital cities. Milan is viewed along with Turin as the southernmost part of the Blue Banana urban development corridor (also known as the "European Megalopolis"), and one of the Four Motors for Europe. Milan is one of the international tourism destinations, appearing among the forty most visited cities in the world, ranking second in Italy after Rome, fifth in Europe and sixteenth in the world. Milan is a major cultural centre, with museums and art galleries that include some of the most important collections in the world, such as major works by Leonardo da Vinci. It also hosts numerous educational institutions, academies and universities, with 11% of the national total of enrolled students.
Founded around 590 BC under the name Medhelanon by a Celtic tribe belonging to the Insubres group and belonging to the Golasecca culture, it was conquered by the ancient Romans in 222 BC, who latinized the name of the city into Mediolanum. The city's role as a major political centre dates back to the late antiquity, when it served as the capital of the Western Roman Empire. From the 12th century until the 16th century, Milan was one of the largest European cities and a major trade and commercial centre; consequently, it became the capital of the Duchy of Milan, one of the greatest political, artistic and fashion forces in the Renaissance. Having become one of the main centres of the Italian Enlightenment during the early modern period, the city subsequently became the industrial and financial capital of modern Italy. Capital of the Napoleonic Kingdom of Italy, after the Restoration it was among the most active centres of the Risorgimento, until its entry into the unified Kingdom of Italy.
Milan has been recognized as one of the world's four fashion capitals. Many of the most famous luxury fashion brands in the world have their headquarters in the city, including: Armani, Prada, Versace, Moschino, Valentino and Zegna. It also hosts several international events and fairs, including Milan Fashion Week and the Milan Furniture Fair, which are among the world's biggest in terms of revenue, visitors and growth. The city is served by many luxury hotels and is the fifth-most starred in the world by Michelin Guide. It hosted the Universal Exposition in 1906 and 2015. In the field of sports, Milan is home to two of Europe's most successful football teams, AC Milan and Inter Milan, and one of Europe's main basketball teams, Olimpia Milano. Milan will host the Winter Olympic and Paralympic games for the first time in 2026, together with Cortina d'Ampezzo.
Milan, Italy is an ancient city in northern Italy first settled under the name Medhelanon in about 590 BC by a Celtic tribe belonging to the Insubres group and belonging to the Golasecca culture.[1][2] The settlement was conquered by the Romans in 222 BC and renamed it Mediolanum. Diocletian divided the Roman Empire, choosing the eastern half for himself, making Milan the seat of the western half of the empire, from which Maximian ruled, in the late 3rd and early 4th century AD. In 313 AD Emperors Constantine and Licinius issued the Edict of Milan, which officially ended the persecution of Christians. In 774 AD, Milan surrendered to Charlemagne and the Franks.
During the Middle Ages, the city's history was the story of the struggle between two political factions: the Guelphs and the Ghibellines. Finally the Visconti family took power (signoria) in Milan. In 1395 Emperor Wenceslas made Milan a duchy, thus raising the dignity of the city's citizens. In the mid-15th century the Ambrosian Republic was established, taking its name from St. Ambrose, a beloved patron saint of the city. The two rival factions worked together to create the Ambrosian Republic in Milan. However, the republic fell apart in 1450 when Milan was conquered by Francesco Sforza of the House of Sforza, which ushered Milan into becoming one of the leading cities of the Italian Renaissance.
From the late 15th century until the mid 16th century, Milan was involved in The Italian Wars, a series of conflicts, along with most of the city-states of Italy, the Papal States, the Republic of Venice and later most of Western Europe. In 1629 The Great Plague of Milan killed about 60,000 people out of a total population of about 130,000, by 1631 when the plague subsided. This event is considered one of the last great outbreaks of what was a pandemic that ravaged Europe for several centuries, beginning with the Black Death. In 1713-1714 treaties gave sovereignty to Austria over most of Spain's Italian possessions, including Lombardy and its capital, Milan. Napoleon invaded Italy in 1796, and later declared Milan the capital of the Kingdom of Italy. After Napoleon's occupation ended the Congress of Vienna returned Lombardy and Milan to Austrian control in 1815. This is the period when Milan became a center for lyric opera.
The Milanese staged a rebellion against Austrian rule on March 18, 1848. The Kingdom of Sardinia joined the rebels, and a vote was held in Lombardy which voted to unify with Sardinia. The Austrians defeated the Sardinians on 24 July and reasserted their domination over Milan and northern Italy. Just a few years later another insurgency by Italian nationalists succeeded in ousting the Austrians with the help of Sardinia and France in 1859. Following the Battle of Solferino Milan and the rest of Lombardy joined the Kingdom of Sardinia, which soon achieved control of most of Italy. In 1861 the re-unified city-states and kingdoms became the Kingdom of Italy once again.
With the unification of the country, Milan became the dominant commercial center of northern Italy. In 1919 Benito Mussolini rallied the Blackshirts for the first time in Milan, and later they began their March on Rome from Milan. During World War II Milan was extensively damaged by Allied bombings. Upon the surrender of Italy in 1943 German forces occupied northern Italy until the end of the war in 1945. Members of the Italian resistance in Milan took control of the city and executed Mussolini, his mistress, and other leaders of his Fascist government by hanging in Piazzale Loreto, Milan.
Since the end of World War II, Italy experienced an economic boom. From 1951 until 1967 the population of Milan grew from 1.3 million to 1.7 million. The city was reconstructed, but in the late 1960s and early 1970s, the city suffered from a huge wave of street violence, labor strikes and political terrorism during so called Years of Lead. During the 1980s, Milan became one of the world's fashion capitals. The rise of financial services and the service economy during the late 20th century further strengthened Milan’s position as the Italian economic capital. The city’s renewal in the 21st century was marked, among others, by hosting of the World Expo 2015 or big redevelopment projects such as Puorta Nuova or CityLife.
Antiquity
Around 590 BC, a Celtic tribe belonging to the Insubres group and belonging to the Golasecca culture settled the city under the name Medhelanon. According to Titus Livy's comments, the city was founded around 600 B.C. by Belloveso, chief of the Insubres. Legend has it that Belloveso found a mythological animal known as the scrofa semilanuta (in Italian: "half-woollen boar") which became the ancient emblem of the city of Milan (from semi-lanuta or medio-lanum). Several ancient sources (including Sidonius Apollinaris, Datius, and, more recently, Andrea Alciato) have argued that the scrofa semilanuta is connected to the etymology of the ancient name of Milan, "Mediolanum", and this is still occasionally mentioned in modern sources, although this interpretation has long been dismissed by scholars. Nonetheless, wool production became a key industry in this area, as recorded during the early Middle Ages (see below).
Milan was conquered by the Romans in 222 B.C. due to its strategic position on the northern borders of the Empire and was renamed Mediolanum. When Diocletian decided to divide the Empire in half choosing the Eastern half for himself, Milan became the residence of Maximian, ruler of the Western Roman Empire. The construction of the second city walls, roughly four and a half kilometers long and unfurling at today's Foro Bonaparte, date back to his reign. After the abdication of Maximian (in 305 A.D.) on the same day on which Diocletian also abdicated, there were a series of wars of succession, during which there was a succession of three emperors in just a few short years: first Severus, who prepared the expedition against Maxentius, then Maxentius himself in a war against Constantine, and finally Constantine himself, victor of the war against Maxentius. In 313 A.D. the Emperors Constantine and Licinius issued the Edict of Milan (Edict of Constantine), ending the persecutions against Christians.
The beginning of the 5th century was the start of a tortuous period of barbarian invasions for Milan. After the city was besieged by the Visigoths in 402, the imperial residence was moved to Ravenna. An age of decadence began which worsened when Attila, King of the Huns, sacked and devastated the city in 452 A.D.
Middle Ages
In 539, the Ostrogoths conquered and destroyed Milan during the Gothic War against Byzantine Emperor Justinian I. In the summer of 569, a Germanic tribe, the Lombards (from which the name of the Italian region Lombardy derives), conquered Milan, overpowering the small Byzantine army left for its defense. Some Roman structures remained in use in Milan under Lombard rule, but the city was eclipsed by the nearby Lombard capital of Pavia during the next two centuries.
Milan surrendered to Charlemagne and the Franks in 774. The aristocracy and majority of the clergy had taken refuge in Genoa. In 774, when Charlemagne took the title of "King of the Lombards", he established his imperial capital of Aachen in what is today Germany. Before then the Germanic kingdoms had frequently conquered each other, but none had adopted the title of King of another people. The Iron Crown of Lombardy (i.e. referring to Charlemagne's kingdom and not to the Italian region), which was worn by Charlemagne, dates from this period. Milan's domination under the Franks led by Charlemagne did nothing to improve the city's fortune, and the city's impoverishment increased and Milan became a county seat.
The 11th century saw a reaction against the control of the Holy Roman Emperors. The city-state was born, an expression of the new political power of the city and its will to fight against feudal overlords. Milan was no exception. It did not take long, however, for the city states to begin fighting each other to try to limit neighbouring powers. The Milanese destroyed Lodi and continuously warred with Pavia, Cremona and Como, who in turn asked Frederick I Barbarossa for help. In a sally, they captured Empress Beatrice and forced her to ride a donkey backwards out through the city. These acts brought the destruction of much of Milan in 1162. A fire destroyed the storehouses containing the entire food supply: and within just a few days Milan was forced to surrender.
A period of peace followed and Milan prospered as a centre of trade due to its position. As a result of the independence that the Lombard cities gained in the Peace of Constance in 1183, Milan returned to the commune form of local government first established in the 11th century. In 1208 Rambertino Buvalelli served a term as podestà of the city, in 1242 Luca Grimaldi, and in 1282 Luchetto Gattilusio. The position was a dangerous one: in 1252 Milanese heretics assassinated the Church's Inquisitor, later known as Saint Peter Martyr, at a ford in the nearby contado; the killers bribed their way to freedom, and in the ensuing riot the podestà was almost lynched. In 1256 the archbishop and leading nobles were expelled from the city. In 1259 Martino della Torre was elected Capitano del Popolo by members of the guilds; he took the city by force, expelled his enemies, and ruled by dictatorial powers, paving streets, digging canals, and taxing the countryside. He also brought the Milanese treasury to collapse; the use of often reckless mercenary units further angered the population, granting an increasing support for the della Torre's traditional enemies, the Visconti. The most important industries in this period were armaments and wool production, a whole catalogue of activities and trades is given in Bonvesin della Riva's "de Magnalibus Urbis Mediolani".
On 22 July 1262, Ottone Visconti was made archbishop of Milan by Pope Urban IV, against the candidacy of Raimondo della Torre, Bishop of Como. The latter started to publicise allegations that the Visconti had ties to the heretic Cathars and charged them with high treason: the Visconti, who accused the della Torre of the same crimes, were then banned from Milan and their properties confiscated. The ensuing civil war caused more damage to Milan's population and economy, lasting for more than a decade. Ottone Visconti unsuccessfully led a group of exiles against the city in 1263, but after years of escalating violence on all sides, in the Battle of Desio (1277) he won the city for his family. The Visconti succeeded in ousting the della Torre permanently, and proceeded to rule Milan and its possessions until the 15th century.
Much of the prior history of Milan was the tale of the struggle between two political factions: the Guelphs and the Ghibellines. Most of the time the Guelphs were successful in the city of Milan. Eventually, however, the Visconti family were able to seize power (signoria) in Milan, based on their "Ghibelline" friendship with the Holy Roman Emperors. In 1395, one of these emperors, Wenceslaus IV of Bohemia (1378–1400), raised Milan to the dignity of a duchy. Also in 1395, Gian Galeazzo Visconti became Duke of Milan. The Ghibelline Visconti family was to retain power in Milan for a century and a half from the early 14th century until the middle of the 15th century.
In 1447 Filippo Maria Visconti, Duke of Milan, died without a male heir; following the end of the Visconti line, the Ambrosian Republic was enacted. The Ambrosian Republic took its name from St. Ambrose, popular patron saint of the city of Milan. Both the Guelph and the Ghibelline factions worked together to bring about the Ambrosian Republic in Milan. Nonetheless, the Republic collapsed when, in 1450, Milan was conquered by Francesco Sforza, of the House of Sforza, who made Milan one of the leading cities of the Italian Renaissance.
Early modern
The Italian Wars were a series of conflicts from 1494 to 1559 that involved, at various times, most of the city-states of Italy, the Papal States, the Republic of Venice, and later most of the major states of Western Europe. Milan's last independent ruler, Lodovico Sforza, called French king Charles VIII into Italy in the expectation that France might be an ally in inter-Italian wars. The future King of France, Louis of Orléans, took part in the expedition and realised Italy was virtually defenceless. This prompted him to return a few years later in 1500, and claim the Duchy of Milan for himself, his grandmother having been a member of the ruling Visconti family. At that time, Milan was also defended by Swiss mercenaries. After the victory of Louis's successor Francis I over the Swiss at the Battle of Marignan, the duchy was promised to the French king. When the Habsburg Emperor Charles V defeated Francis I at the Battle of Pavia in 1525, northern Italy, including Milan, returned to Francesco II Sforza, passing to Habsburg Spain ten years later on his death and the extinction of the Sforza line.
In 1556, Charles V abdicated in favour of his son Philip II and his brother Ferdinand I. Charles's Italian possessions, including Milan, passed to Philip II and remained with the Spanish line of Habsburgs, while Ferdinand's Austrian line of Habsburgs ruled the Holy Roman Empire.
Great Plague of Milan
The Great Plague of Milan in 1629–31 killed an estimated 60,000 people out of a population of 130,000. This episode is considered one of the last outbreaks of the centuries-long pandemic of plague that began with the Black Death.
War of the Spanish Succession
In 1700 the Spanish line of Habsburgs was extinguished with the death of Charles II. After his death, the War of the Spanish Succession began in 1701 with the occupation of all Spanish possessions by French troops backing the claim of the French Philippe of Anjou to the Spanish throne. In 1706, the French were defeated at the Battle of Turin and were forced to yield northern Italy to the Austrian Habsburgs. In 1713–1714 the Treaties of Utrecht and Rastatt formally confirmed Austrian sovereignty over most of Spain's Italian possessions including Lombardy and its capital, Milan.
Napoleon invaded Italy in 1796, and Milan was declared the capital of the Cisalpine Republic. Later, he declared Milan the capital of the Kingdom of Italy and was crowned in the Duomo. Once Napoleon's occupation ended, the Congress of Vienna returned Lombardy, and Milan, along with Veneto, to Austrian control in 1814. During this period, Milan became a centre of lyric opera. Here in the 1770s Mozart had premiered three operas at the Teatro Regio Ducale. Later La Scala became the reference theatre in the world, with its premières of Bellini, Donizetti, Rossini and Verdi. Verdi himself is interred in the Casa di Riposo per Musicisti, his present to Milan. In the 19th century, other important theatres were La Cannobiana and the Teatro Carcano.
Wars of the 19th century
On 18 March 1848, the Milanese rebelled against Austrian rule, during the so-called "Five Days" (Italian: Le Cinque Giornate), and Field Marshal Radetzky was forced to withdraw from the city temporarily. The Kingdom of Sardinia stepped in to help the insurgents; a plebiscite held in Lombardy decided in favour of unification with Sardinia. However, after defeating the Sardinian forces at Custoza on 24 July, Radetzky was able to reassert Austrian control over Milan and northern Italy. A few years on, however, Italian nationalists again called for the removal of Austria and Italian unification, with riots consuming the city in 1853. In 1859 Sardinia and France formed an alliance and defeated Austria at the Battle of Solferino. Following this battle, Milan and the rest of Lombardy were incorporated into the Kingdom of Sardinia, which soon gained control of most of Italy and in 1861 was rechristened as the Kingdom of Italy.
Early industrialization
The political unification of Italy cemented Milan's commercial dominance over northern Italy. It also led to a flurry of railway construction that had started under Austrian patronage (Venice–Milan; Milan–Monza) that made Milan the rail hub of northern Italy. Thereafter with the opening of the Gotthard (1881) and Simplon (1906) railway tunnels, Milan became the major South European rail focus for business and passenger movements e.g. the Simplon Orient Express. Rapid industrialization and market expansion put Milan at the centre of Italy's leading industrial region, including extensive stone quarries that have led to much of the air pollution we see today in the region. In the 1890s, Milan was shaken by the Bava-Beccaris massacre, a riot related to a high inflation rate. Meanwhile, as Milanese banks dominated Italy's financial sphere, the city became the country's leading financial centre.
Late modern and contemporary
In 1919, Benito Mussolini's Blackshirts rallied for the first time in Piazza San Sepolcro and later began their March on Rome in Milan. During the Second World War Milan suffered extensive damage from Allied bombings.[18] When Italy surrendered in 1943, German forces occupied most of Northern Italy until 1945. As a result, resistance groups formed. As the war came to an end, the American 1st Armored Division advanced on Milan – but before they arrived, the resistance seized control of the city and executed Mussolini along with several members of his government. On 29 April 1945, the corpses of Mussolini, his mistress Clara Petacci and other Fascist leaders were hanged in Piazzale Loreto.
During the post-war economic boom, a large wave of internal migration (especially from rural areas of Southern Italy), moved to Milan. The population grew from 1.3 million in 1951 to 1.7 million in 1967. During this period, Milan was largely reconstructed, with the building of several innovative and modernist skyscrapers, such as the Torre Velasca and the Pirelli Tower. The economic prosperity was however overshadowed in the late 1960s and early 1970s during the so-called Years of Lead, when Milan witnessed an unprecedented wave of street violence, labour strikes and political terrorism. The apex of this period of turmoil occurred on 12 December 1969, when a bomb exploded at the National Agrarian Bank in Piazza Fontana, killing seventeen people and injuring eighty-eight.
In the 1980s, with the international success of Milanese houses (like Armani, Versace, and Dolce & Gabbana), Milan became one of the world's fashion capitals. The city saw also a marked rise in international tourism, notably from America and Japan, while the stock exchange increased its market capitalisation more than five-fold. This period led the mass media to nickname the metropolis "Milano da bere", literally "Milan to drink". However, in the 1990s, Milan was badly affected by Tangentopoli, a political scandal in which many politicians and businessmen were tried for corruption. The city was also affected by a severe financial crisis and a steady decline in textiles, automobile, and steel production.
In the early 21st century, Milan underwent a series of sweeping redevelopments. Its exhibition centre moved to a much larger site in Rho. New business districts such as Porta Nuova and CityLife were constructed. With the decline in manufacturing, the city has sought to develop on its other sources of revenue, including publishing, finance, banking, fashion design, information technology, logistics, transport, and tourism. In addition, the city's decades-long population decline seems to have come to an end in recent years, with signs of recovery as it grew by seven percent since the last census.
LARGE SIZE SUGGESTED .........................................................................................................
Castello Sforzesco (English: Sforza Castle) is a castle in Milan, Italy, that used to be the seat and residence of the ruling family of Milan and now houses several of the city's museums and art collections.
The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of these rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse with surviving ceiling paintings by Leonardo da Vinci
After the unification of Italy in the 19th century, the restoration of the castle was started following its transfer from military use to the city of Milan. The restoration work was directed by Luca Beltrami. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
The castle was severely damaged as a result of the allied bombardment of Milan in 1943 during World War II. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
The best known of the current civic museums is the Pinacoteca del Castello Sforzesco, with an art collection which includes Michelangelo's last sculpture, the Rondanini Pietà, Andrea Mantegna's Trivulzio Madonna and Leonardo da Vinci's Codex Trivulzianus manuscript .
The Castello complex also includes The Museum of Ancient Art, The Furniture Museum, The Museum of Musical Instruments and the Applied Arts Collection, The Egyptian and Prehistoric sections of the Archaeological Museum and the Achille Bertarelli Print Collection.
Source: Wikipedia.
The Torre Velasca (Velasca Tower, in English) is a skyscraper built in the 1950s by the BBPR architectural partnership, in Milan, Italy. The tower is part of the first generation of Italian modern architecture, while still being part of the Milanese context in which it was born, to which also belongs the Milan Cathedral and the Sforza Castle.
The tower, measuring 75 metres (246 ft) in height to the roof with an additional 23-metre-tall (75 ft) antenna spire (total 98 m or 322 ft), has a peculiar and characteristic mushroom-like shape. It stands out in the city skyline, made of domes, buildings and other towers. Its structure recalls the Lombard tradition, made of medieval fortresses and towers, each having a massive profile. In such fortresses, the lower parts were always narrower, while the higher parts were propped up by wood or stone beams. As a consequence, the shape of this building is the result of a modern interpretation of the typical medieval Italian castle. At the same time, BBPR in this building satisfied the functional needs of space: narrower surfaces on the ground, wider and more spacious ones on the top floors. The town planning laws, then, imposed specific volumes (depending on the buildings' purpose); in this tower, the latter were the mixed functions of residential and commercial use.
The tower is located in the city centre of Milan, near the Duomo (Milan Cathedral) and the headquarters of the University of Milan, between the streets corso di Porta Romana and via Larga. One of the exits of the Missori metro station, on line 3, is located right in front of it.
In 2011, the tower was placed under protection as a historic building.
Torre Velasca, in Milano, built in the 1950 by the BBPR architectural partnership.
It's got quite a brutalist feel, which is why I like it.
built as part of the microscale Architecture set of Milano
Back to my trip to Europe last year for a while!
Sforza Castle, Milan, day 6 of our Cosmos tour, October 5, 2012. We arrived late in the afternoon so didn't see all I wanted to see as we left very early the next morning. So not many good shots as it was too late in the day!
Castello Sforzesco (English: Sforza Castle) is a castle in Milan, Italy, that used to be the seat and residence of the Duchy of Milan and one of the biggest citadels in Europe. It now houses several of the city's museums and art collections.
The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of the rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse, which contains ceiling paintings by Leonardo da Vinci.
After the French victory in the 1515 Battle of Marignano, the defeated Massimiliano Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the Castello Sforzesco. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated.
Under the Spanish domination, the castle was developed: between 15th and 16th century, it had a garrison of some 1000 to 3000 men, and was one of the biggest citadels in Europe. It became a star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25,9 hectares.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a vast 700m by 700m square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration work, which was directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
For More Info: en.wikipedia.org/wiki/Sforza_Castle
For More Info on Milan: en.wikipedia.org/wiki/Milan
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Castello Sforzesco, Milano.
Castello Sforzesco is a castle in Milan, Italy, that used to be the seat and residence of the Duchy of Milan and one of the biggest citadels in Europe and now houses several of the city's museums and art collections. The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of these rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse with surviving ceiling paintings by Leonardo da Vinci.
After the French victory in the 1515 Battle of Marignano, the defeated Massimiliano Sforza, his Swiss mercenaries and the cardinal-bishop of Sion retreated into the Castello Sforzesco. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders submitted.
The castle in 16th century
Under the Spanish domination, the castle was developed: between 15th and 16th century, was protected by 1000 to 3000 men, and was one of the biggest citadels in Europe; a huge star fort was built, with 12 bastions. The external fortifications reached 3 km in length and covered an area of 25,9 hectares.
After the unification of Italy in the 19th century, the restoration of the castle was started following its transfer from military use to the city of Milan. The restoration work was directed by Luca Beltrami. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
The castle was severely damaged as a result of the allied bombardment of Milan in 1943 during World War II. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
Back to my trip to Europe last year for a while!
Waiting for the city guild to show us the Sforza Castle, Milan, day 6 of our Cosmos tour, October 5, 2012. We arrived late in the afternoon so didn't see all I wanted to see as we left very early the next morning. So not many good shots as it was too late in the day!
Castello Sforzesco (English: Sforza Castle) is a castle in Milan, Italy, that used to be the seat and residence of the Duchy of Milan and one of the biggest citadels in Europe. It now houses several of the city's museums and art collections.
The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of the rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse, which contains ceiling paintings by Leonardo da Vinci.
After the French victory in the 1515 Battle of Marignano, the defeated Massimiliano Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the Castello Sforzesco. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated.
Under the Spanish domination, the castle was developed: between 15th and 16th century, it had a garrison of some 1000 to 3000 men, and was one of the biggest citadels in Europe. It became a star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25,9 hectares.[1]
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a vast 700m by 700m square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration work, which was directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
Fro More Info: en.wikipedia.org/wiki/Sforza_Castle
For More Info on Milan: en.wikipedia.org/wiki/Milan
Back to my trip to Europe last year for a while!
Sforza Castle, Milan, day 6 of our Cosmos tour, October 5, 2012. We arrived late in the afternoon so didn't see all I wanted to see as we left very early the next morning. So not many good shots as it was too late in the day!
Castello Sforzesco (English: Sforza Castle) is a castle in Milan, Italy, that used to be the seat and residence of the Duchy of Milan and one of the biggest citadels in Europe. It now houses several of the city's museums and art collections.
The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of the rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse, which contains ceiling paintings by Leonardo da Vinci.
After the French victory in the 1515 Battle of Marignano, the defeated Massimiliano Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the Castello Sforzesco. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated.
Under the Spanish domination, the castle was developed: between 15th and 16th century, it had a garrison of some 1000 to 3000 men, and was one of the biggest citadels in Europe. It became a star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25,9 hectares.
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a vast 700m by 700m square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration work, which was directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
Fro More Info: en.wikipedia.org/wiki/Sforza_Castle
For More Info on Milan: en.wikipedia.org/wiki/Milan
il Museo Monumento al Deportato di Carpi è una struttura unica, frutto di un impegno teso a commemorare le vittime della Deportazione. Per la progettazione del Museo fu incaricato il gruppo BBPR (Belgioioso, Banfi, Peressutti e Rogers) in collaborazione con Renato Guttuso.
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Gardens are occupied by a further 29 pavilions built at different periods by the various nations participating in the Biennale. Set amidst tall trees, the pavilions themselves form a sort of anthology of important twentieth-century architecture - given they were designed by architects of the status of Aalto, Hoffmann, Rietveld, Scarpa and Stirling.
The pavilions were built over the years, in the following chronological order (name of the architect in brackets):
1907 Belgium (Léon Sneyens);
1909 Hungary (Géza Rintel Maróti);
1909 Germany (Daniele Donghi), demolished and rebuilt in 1938 (Ernst Haiger);
1909 Great Britain (Edwin Alfred Rickards);
1912 France (Umberto Bellotto);
1912 Netherlands (Gustav Ferdinand Boberg), demolished and rebuilt in 1953 (Gerrit Thomas Rietveld);
1914 Russia (Aleksej V. Scusev);
1922 Spain (Javier De Luque) façade renovated in 1952 by Joaquin Vaquero Palacios;
1926 Czech Republic and Slovak Republic (Otakar Novotny);
1930 United States of America (Chester Holmes Aldrich and William Adams Delano);
1932 Denmark (Carl Brummer) enlarged in 1958 by Peter Koch;
1932 Padiglione Venezia (Brenno Del Giudice), enlarged in 1938;
1934 Austria (Josef Hoffmann);
1934 Greece (M. Papandréou - B. Del Giudice);
1952 Israel (Zeev Rechter);
1952 Switzerland (Bruno Giacometti);
1954 Venezuela (Carlo Scarpa);
1956 Japan (Takamasa Yoshizaka);
1956 Finland (Alvar Aalto Pavilion);
1958 Canada (Gruppo BBPR);
1960 Uruguay;
1962 Nordic Countries: Sweden, Norway, Finland (Sverre Fehn);
1964 Brazil (Amerigo Marchesin);
1987 Australia (Philip Cox);
1995 Korea (Seok Chul Kim and Franco Mancuso).
Milano, piazza Velasca, Torre Velasca (BBPR- Lodovico Barbiano di Belgiojoso, Enrico Peressutti ed Ernesto Nathan Rogers, 1951-58)
Back to my trip to Europe last year for a while!
Sforza Castle, Milan, day 6 of our Cosmos tour, October 5, 2012. We arrived late in the afternoon so didn't see all I wanted to see as we left very early the next morning. So not many good shots as it was too late in the day!
Castello Sforzesco (English: Sforza Castle) is a castle in Milan, Italy, that used to be the seat and residence of the Duchy of Milan and one of the biggest citadels in Europe. It now houses several of the city's museums and art collections.
The original construction on the site began in the 14th century. In 1450, Francesco Sforza began reconstruction of the castle, and it was further modified by later generations. A number of the rooms originally had elaborate internal decoration - the best known of these being the Sala Delle Asse, which contains ceiling paintings by Leonardo da Vinci.
After the French victory in the 1515 Battle of Marignano, the defeated Massimiliano Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the Castello Sforzesco. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated.
Under the Spanish domination, the castle was developed: between 15th and 16th century, it had a garrison of some 1000 to 3000 men, and was one of the biggest citadels in Europe. It became a star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25,9 hectares.[1]
Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonoparte. The area on the "country" side of the castle was laid out as a vast 700m by 700m square parade ground known as Piazza d'Armi.
After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.
The government of Milan undertook restoration work, which was directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on axis with the main gate. The central Filarete tower above the main city entrance was rebuilt between 1900 and 1905 as a monument to King Umberto I.
Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.
Fro More Info: en.wikipedia.org/wiki/Sforza_Castle
For More Info on Milan: en.wikipedia.org/wiki/Milan
These photos makes my heart go pitter-patter. The Olivetti Building in Barcalona. The ads for their business machines are some of the finest the last century had to offer. Check out the machines in the bubbles! Built by Milanese architectural studio BBPR. Photo from Arts & Architecture May 1966.
(this is a large file, so view the XL size for details).