Milan: Architecture and Design 2021
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Hans-Peter Feldmann Named Winner
Guggenheim and AMO / Rem Koolhaas Announce Research Project Culminating in February 2020 Exhibition Countryside: Future of the World to Examine Radical Changes Transforming the Nonurban Landscape (NEW YORK, NY—November 29, 2017)—The Solomon R. Guggenheim Museum, architect and urbanist Rem Koolhaas, and AMO, the think tank of the Office for Metropolitan Architecture (OMA), will collaborate on a project exploring radical changes in the countryside, the vast nonurban areas of Earth. The project extends work underway by AMO / Koolhaas and students at the Harvard Graduate School of Design and will culminate in a rotunda exhibition at the Guggenheim Museum in February 2020. Organized by Guggenheim Curator of Architecture and Digital Initiatives Troy Conrad Therrien, Founding Partner of OMA Rem Koolhaas, and AMO Director Samir Bantal, Countryside: Future of the World (working title) will present speculations about tomorrow through insights into the countryside of today. The exhibition will explore artificial intelligence and automation, the effects of genetic experimentation, political radicalization, mass and micro migration, large-scale territorial management, human-animal ecosystems, subsidies and tax incentives, the impact of the digital on the physical world, and other developments that are altering landscapes across the globe. “The Guggenheim has an appetite for experimentation and a founding belief in the transformative potential of art and architecture,” said Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. -
Mailand 2011
Milano Terra Incognita Architekturreise 22.09.-25.09.2011 vbg Fachkreis Architektur Palazzo Via Albricci 10, 1956-1958, Asnago e Vender Palazzo Via Albricci 10, 1956-1958, Asnago e Vender An einem herbstlichen Donnerstag nach tägigen Rundgang, welcher in Zusam- und die Zona Tortona. Der Sonntag steht Feierabend besteigen wir den Zug, der menarbeit mit der Architektenkammer der allen Teilnehmenden zur freien Verfü- uns in eine nahe, aber für viele von uns Provinz Milano für uns zusammengestellt gung, um nach Lust und Laune aus einer doch weitgehend unbekannte Grossstadt wurde, führen uns die perfekt Deutsch vorbereiteten Liste mit Vorschlägen einige bringt. Rechtzeitig zum Schlummertrunk sprechenden Mailänder Architekten Silvia weitere Architekturjuwelen individuell zu erreichen wir Milano und beziehen unser Malcovati und Michele Caja zu bekann- entdecken. Selbstverständlich wird es erstklassiges Hotel im Stadtteil Bovisa, ten Bauten wie dem Grattacielo Pirelli auch Gelegenheit geben, die Innenstadt unweit des Designmuseums „La Triennale und dem Torre Velasca, aber auch in um den Dom mit ihren tollen Läden und di Milano“. Wohnhäuser des Büros Asnago e Vender Bars zu bestaunen. Kulinarische Freuden und experimentelle Bauten der 1940er und allenfalls ein Besuch der Oper „Il Ausgeruht begeben wir uns ab Freitag- Jahre im Modellquartier QT8. Häufig ritorno di Ulisse in patria“ von Claudio morgen auf die Spuren eines avantgar- werden wir die Gebäude auch von innen Monteverdi im legendären Teatro alla distischen Architekturstils, welcher vor besichtigen können. Ergänzend werfen Scala am Freitagabend sind weitere allem in der ersten Hälfte des 20. Jahr- wir auch den einen oder anderen Blick Zutaten, um diese Reise unvergesslich hunderts ikonische Bauten in und um auf aktuelle städtebauliche Erneuerungs- werden zu lassen. -
2 Documento Preliminare Alla Progettazione.Pdf
NOVECENTOPIÙCENTO CONCORSO INTERNAZIONALE DI PROGETTAZIONE 9O O PIÙCENTO I NOVECENTOPIÙCENTO CONCORSO INTERNAZIONALE DI PROGETTAZIONE DOCUMENTO PRELIMINARE ALLA PROGETTAZIONE NOVECENTOPIÙCENTO CONCORSO INTERNAZIONALE DI PROGETTAZIONE DOCUMENTO PRELIMINARE ALLA PROGETTAZIONE INDICE PREFAZIONE 4 1. OBIETTIVI GENERALI 5 2. INQUADRAMENTO 6 2.1 Contesto urbano 6 2.2 Piazza del Duomo 8 2.3 Vicende storiche 10 2.4 L’Arengario 14 2.4.1 Il Primo Arengario - Museo del Novecento 15 2.4.2 Il Secondo Arengario 21 2.5 Ritrovamenti archeologici 22 2.6 Accessibilità 24 3. OGGETTO DEL CONCORSO 25 3.1 Ambito di intervento 25 3.1.1 Perimetro 1 - Progetto di Fattibilità Tecnico-Economica 25 3.1.2 Linee Guida 27 3.2 Vincoli 27 3.2.1 Vincolo monumentale 27 3.2.2 Vincoli sull’Arengario 28 3.2.3 Vincoli sullo spazio pubblico 29 4. INDICAZIONI PROGETTUALI 30 4.1 Identità e relazioni con il contesto 30 4.2 Concept museologico 31 4.3 Programma funzionale 33 4.3 Collegamento e relazione con il Primo Arengario 34 4.4 Percorso museografico 35 4.6 Spazi espositivi 38 4.7 Materiali e finiture 39 4.8 Impianti 39 4.9 Sostenibilità ambientale 42 5. LIMITI FINANZIARI E STIMA DEI COSTI DI INTERVENTO 44 6. NORMATIVA DI RIFERIMENTO 45 7. INDICAZIONI BIBLIOGRAFICHE 50 3 PREFAZIONE A distanza di dieci anni dall’inaugurazione del Museo del Novecento, il Comune di Milano lancia “Novecentopiùcento”, concorso internazionale di progettazione per l’ampliamento del Museo, attualmente ospitato all’interno dell’Arengario in Piazza del Duomo – specificatamente nella torre a est e nella manica lunga – e negli spazi al secondo piano di Palazzo Reale. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Sc 2019 Comune Di Milano Vivere Il Museo Palazzo Reale
SSCC 22001199 CCOOMMUUNNEE DDII MMIILLAANNOO VVIIVVEERREE IILL MMUUSSEEOO Settore ed area di intervento del progetto Patrimonio Artistico e Culturale - Cura e Conservazione Biblioteche – Valorizzazione Storie e Culture Locali - Valorizzazione Sistema Museale Pubblico e Privato - Tutela e valorizzazione dei beni storici, artistici e culturali. Sede di attuazione del progetto: codice sede progetto Indirizzo n. volontari 91322 – Palazzo Reale Piazza Duomo, 12 2 92023 – Palazzo Marino Piazza della Scala, 2 2 91328 – Museo del Novecento Via Marconi, 1 2 131903 – Padiglione d’Arte Contemporanea - PAC Via Palestro, 14 1 91336 – Galleria d’Arte Moderna - GAM Via Palestro, 16 1 91325 – Museo Risorgimento Via Borgonuovo, 23 1 Palazzo Moriggia 91333 – Museo de l Costume, Moda e Immagine Via Sant’Andrea 6 1 Palazzo Morando 131916 – Case Museo : Studio Museo Messina e Via Dogana, 2 1 Casa Museo Boschi di Stefano PPAALLAAZZZZOO RREEAALLEE Descrizione dell’area di intervento e del contesto territoriale entro il quale si realizza il progetto: Il progetto si sviluppa all’interno del Servizio Polo Mostre e Musei Scientifici che ha sede a Palazzo Reale che rappresenta uno dei poli culturali più importanti della città. Il Servizio coordina e gestisce le mostre realizzate a Palazzo Reale, al PAC, al Palazzo della Ragione, alla Rotonda della Besana, al Castello Sforzesco, al Museo di Storia Naturale e in altre sedi espositive del Comune di Milano, oltre che esposizioni di arte pubblica. Ad esso fanno capo tutte le funzioni legate alle esposizioni (gestione degli spazi, degli eventi, dei prestiti delle opere, della custodia, sorveglianza e sicurezza, assicurazioni, organizzazione, promozione e comunicazione degli eventi espositivi). -
Paine, A. the Rhetoric of Authentic Surfaces: Gold Leaf In
PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND VOL. 33 Edited by AnnMarie Brennan and Philip Goad Published in Melbourne, Australia, by SAHANZ, 2016 ISBN: 978-0-7340-5265-0 The bibliographic citation for this paper is: Ashley Paine “The Rhetoric of Authentic Surfaces: Gold Leaf in the Recent Work of OMA and Mario Botta.” In Proceedings of the Society of Architectural Historians, Australia and New Zealand: 33, Gold, edited by AnnMarie Brennan and Philip Goad, 550-557. Melbourne: SAHANZ, 2016. All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editors. Ashley Paine University of Queensland THE RHETORIC OF AUTHENTIC SURFACES: GOLD LEAF IN THE RECENT WORK OF OMA AND MARIO BOTTA. In 2015, the first stage of O.M.A.’s Fondazione Prada in Milan was opened to the public. Led by O.M.A. founder, Rem Koolhaas, the project consists of a campus of re-purposed industrial buildings to house the art collection and associated cultural activities of the Italian fashion giant. Of all the extant buildings, the visual focus is on an ordinary five-storey structure, which has been covered entirely in gold leaf. While O.M.A. have employed gold leaf on a small number of earlier projects, there are also other contemporary parallels, including Mario Botta’s church in Seriate, located just fifty kilometres east of Milan. Completed in 2004, Botta’s church establishes a curious inversion of O.M.A.’s gold building: its interior is lined extensively in gilded timber slats. -
Vincenzo Agnetti
VINCENZO AGNETTI Born 1926 Milan, Italy Died 1981 Milan, Italy EDUCATION Brera Academy, Milan Piccolo Teatro School, Milan SELECTED SOLO EXHIBITIONS 2017 Vincenzo Agnetti: Territories, Lévy Gorvy, New York Vincenzo Agnetti, Palazzo Reale, Milan Vincenzo Agnetti: Territories, Lévy Gorvy, London Vincenzo Agnetti. Oltre Il Linguaggio, Osart Gallery, Milan Unfinished Culture #2, Vincenzo Agnetti 1979 – 1981, Fondazione Brodbeck, Catania 2016 Vincenzo Agnetti - La Lettera Perduta, Archivio Agnetti, Milan Archivio 01, Sotheby’s, Milan Vincenzo Agnetti, Palazzo Serbelloni, Milan 2015 Testimonianza, Galleria Il Ponte, Florence; also traveled to: Studio Giangaleazzo Visconti, Milan 2014 Vincenzo Agnetti, Opere da Collezioni Private, Matteo Lampertico Arte Antica e Moderna, Milan 2013 A proposito di Vincenzo Agnetti, Museo D’Arte Contemporanea Villa Croce, Genoa 2012 Vincenzo Agnetti - L’operazione Concettuale, Centro Italiano Arte Contemporanea, Foligno 2009 Vincenzo Agnetti, White Project, Pescara 2008 Vincenzo Agnetti, Studio Giangaleazzo Visconti, Milan Vincenzo Agnetti. Retrospettiva 1967-1980, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto 2006 Lavoro – Agnetti quasi dimenticato a memoria, Galleria Milano, Milan 1999 Vincenzo Agnetti, La Crocetta Arte, Gallarate 1997 Vincenzo Agnetti, Galleria Peccolo, Livorno 1991 Vincenzo Agnetti. Casualmente un percorso, Galleria Vivita, Florence Vincenzo Agnetti, Galleria Salvatore Ala, New York Vincenzo Agnetti – Adesso l’acqua sa di secchio, Galleria Giuliana De Crescenzo, Rome -
Milano Museocity 2019 1 – 3 Marzo 2019
Milano MuseoCity 2019 1 – 3 marzo 2019 ISTITUZIONI ADERENTI (MS) Istituzioni aderenti a Museo Segreto 1. Acquario e Civica Stazione Idrobiologia (MS) 2. Archivio Giovanni Sacchi (MS) 3. Archivio Vincenzo Agnetti 4. Armani / Silos (MS) 5. Associazione Amici del Monumentale di Milano 6. Associazione Amici di Lalla Romano - Casa Lalla Romano 7. Associazione per Mario Negri - per la Scultura 8. BIG - Borsa Italiana Gallery - Palazzo Mezzanotte (MS) 9. Casa del Manzoni (MS) 10. Casa della Memoria 11. Casa delle Artiste - Spazio Alda Merini 12. Casa dell’Energia e dell’Ambiente - Fondazione AEM (MS) 13. Casa Museo Boschi Di Stefano (MS) 14. Cenacolo Vinciano 15. Centrale dell’Acqua (MS) 16. Centro Artistico Alik Cavaliere (MS) 17. Civico Museo Archeologico (MS) 18. Collezione Branca 19. Fondazione Achille Castiglioni 20. Fondazione Adolfo Pini 21. Fondazione Arnaldo Pomodoro 22. Fondazione Corrente - Studio Museo Treccani 23. Fondazione Federica Galli (MS) 24. Fondazione Franco Albini 25. Fondazione Luciana Matalon 26. Fondazione Luigi Rovati (MS) 27. Fondazione Mansutti 28. Fondazione Marconi (MS) www.museocity.it www.yesmilano.it 29. Fondazione Piero Manzoni 30. Fondazione Pirelli 31. Fondazione Prada (MS) 32. Fondazione Remo Bianco (MS) 33. Fondazione Studio Museo Vico Magistretti 34. Galleria Campari (MS) 35. Gallerie d’Italia - Piazza Scala (MS) 36. GAM Galleria d’Arte Moderna (MS) 37. GASC - Galleria d’Arte Sacra dei Contemporanei (MS) 38. Istituto Emilio e Scilla Isgro ̀ 39. Kartell Museo 40. La Triennale di Milano 41. Leonardo3 - Il Mondo di Leonardo 42. MIC - Museo Interattivo del Cinema (MS) 43. Molteni Museum 44. MUBA - Museo dei Bambini Milano 45. MUDEC Museo delle Culture (MS) 46. -
Programmazione Attività Sistema Museale Cittadino Misure E Procedure Operative
Commissione Consiliare Cultura 12 febbraio 2021 PROGRAMMAZIONE ATTIVITÀ SISTEMA MUSEALE CITTADINO MISURE E PROCEDURE OPERATIVE LE MISURE SONO PREVISTE SULLA BASE DEL DPCM DEL 14.01.2021 E DELLA SUCCESSIVA ORDINANZA DEL MINISTERO DELLA SALUTE DEL 29.01.2021 CHE COLLOCA LA LOMBARDIA IN FASCIA GIALLA Ingressi con prenotazione consigliata Contingentamento del pubblico in base alle dimensioni degli istituti Ingressi scaglionati Aperture degli istituti dal martedì al venerdì All’ingresso degli istituti: dotazione di gel igienizzante per le mani. Obbligo del corretto utilizzo della mascherina Utilizzo di termoscanner all’ingresso 2 DAL 9 FEBBRAIO APERTURA MOSTRE NELLE SEDI CIVICHE RIAPERTURE ► Palazzo Reale (ore 10-19.30) “Divine e Avanguardie. Le donne nell’arte russa” e “Prima, donna. Margaret Bourke-White” ► Museo del Novecento (ore 10-19.30) “Carla Accardi. Contesti” ► Museo Archeologico (ore 10-17.30) “Sotto il Cielo di Nut. Egitto divino” NUOVE MOSTRE ► Castello Sforzesco (ore 10-17.30) “Giuseppe Bossi e Raffaello” ► Studio Museo Francesco Messina (ore 10-17.30) “Orticanoodles. Inside” ► Casa Boschi di Stefano / piano terra (ore 10-17.30) “La prima stagione di Gianni Dova” ► Mudec (ore 10-19.30 - Sala Khaled Assad) “La grande strada Inca”. ► Dal 16 febbraio: PAC “Autoritratto” di Luisa Lambri LE MOSTRE SONO APERTE DAL MARTEDI AL VENERDI Palazzo Reale e Museo del Novecento chiudono il giovedì alle 20.30 3 DAL 16 FEBBRAIO RIAPERTURA DELLE COLLEZIONI PERMANENTI DEI MUSEI • Musei del Castello • Casa Boschi Di Stefano • GAM • Acquario • Museo Risorgimento • Museo Archeologico • Palazzo Morando GIORNI E ORARI: da martedì a venerdì dalle 10 alle 17.30 4 DAL 02 MARZO RIAPERTURA DEI MUSEI CON NUOVI ALLESTIMENTI APERTURA: • Museo del Novecento • Museo di Storia Naturale | sezione Mineralogia GIORNI E ORARI: da martedì a venerdì dalle 10 alle 17.30 APERTURA NUOVA MOSTRA: • Palazzo Reale: “Le signore dell’arte. -
Ryan Trecartin Biography
RYAN TRECARTIN BIOGRAPHY Born in Webster, TX, 1981. Lives and works in Los Angeles, CA. Education: B.F.A., Rhode Island School of Design, Providence, RI, 2004 Selected Solo Exhibitions: 2019 “Re’Search Wait’S,” Sprüth Magers, Berlin, Germany, September 12 – December 21, 2019 “Comma Boat: Ryan Trecartin,” Plug In Institute of Contemporary Art, Winnipeg, Canada, April 27 – June 30, 2019 “Lizzie Fitch | Ryan Trecartin: The Movies,” Fondazione Prada, Milan, Italy, April 6 – September 30, 2019 “Lizzie Fitch/Ryan Trecartin,” Fondazione Prada, Milan, Italy, April 6 – August 5, 2019; catalogue 2018 “Ryan Trecartin: Re’Search Wait’S,” Pond Society, Shanghai, China, November 7, 2018 – January 20, 2019 “Lizzie Fitch/Ryan Trecartin,” Baltimore Museum of Art, Baltimore, MA, October 7, 2018 – January 6, 2019 “Lizzie Fitch/Ryan Trecartin,” Astrup Fearnly Museet, Oslo, Norway, February 22 – May 20, 2018 2016 “Lizzie Fitch/Ryan Trecartin,” Andrea Rosen Gallery, New York, NY, March 19 – April 20, 2016 “Ryan Trecartin: Six Movies,” Art Gallery of Western Australia, Perth, Australia, January 30 – May 8, 2016 2015 “Re’Search Wait'S,” National Gallery of Victoria, Victoria, Australia, May 15 – September 13, 2015 “SITUATION #1: Ryan Trecartin,” Fotomuseum Winterthur, Winterthur, Switzerland, April 10 – June 7, 2015 2014 “Ryan Trecartin: SITE VISIT,” Kunst-Werke Institute for Contemporary Art, Berlin, Germany, September 14, 2014 – February 15, 2015 “Lizzie Fitch/Ryan Trecartin: Priority Innfield,” Zabludowicz Collection, London, UK, October 2 – December 21, -
Mark Gilbert
Mark Gilbert On Beyond Koolhaas Identity, Sameness and the Crisis of City Planning Many ways more an orator than a theorist, Rem Koolhaas speaks neither a Jeremiad nor a Philippic. In his influential writings on urbanism, his rhetoric brings to mind Shakespeare’s Mark Anthony: he is here to bury the city, not to praise it. And like the crowd before Anthony, we are swayed: the world appears in new sharpness and we are compelled to choose sides. Yet Koolhaas rarely instructs. Only in few cases does he attempt to offer any strategies for managing or improving the conditions he identifies. Amoral and pragmatic, he dismisses leftist concerns for collective good and derides nostalgia. Yet, he draws out front lines, identifies new alliances and spreads new hope for what might be when we can find ourselves at peace with the world. And like Anthony before him, he is convinced that we stand at the watershed – in this case, in the matters of architecture and urbanism. Resisting the alluring seduction of Koolhaas’ powerful rhetorics, let’s try to determine what lesson could be distilled out of his writings on “what used be” cities. He voices radical criticism of conventional urbanistic wisdom and heralds the birth of the Generic City, a city “ohne Eigenschaften”, uncontrollable, autopoietic and and infinitely repeatable. In the opening line to “Generic Cities” he postulates a convergence in the contemporary city, of sameness that results from relentless urban expansion subsuming the historical city: “Is the contemporary city is like the contemporary airport — ‘all the same‘?”1 For Koolhaas, the city used to ground local identity but in the world of today, “Identity conceived as this form of sharing the past is a losing proposition…”2 While most architects and urban designers mourn the loss of local traditions and regional differences and even call for local resistance, as evoked for example by Kenneth Frampton’s concept of critical regionalism, Koolhaas resolutely affirms the homogenizing effects of global economy. -
Piùcento Novecentopiùcento
NOVECENTOPIÙCENTO INTERNATIONAL DESIGN COMPETITION 9O O PIÙCENTO I NOVECENTOPIÙCENTO INTERNATIONAL DESIGN COMPETITION PRELIMINARY DESIGN DOCUMENT NOVECENTOPIÙCENTO INTERNATIONAL DESIGN COMPETITION PRELIMINARY DESIGN DOCUMENT TABLE OF CONTENTS FOREWORD 4 1. OVERALL OBJECTIVES 5 2. FRAMEWORK 6 2.1 The urban context 6 2.2 Piazza del Duomo 8 2.3 Historical events 10 2.4 The Arengario 14 2.4.1 The First Arengario - Museo del Novecento 15 2.4.2 The Second Arengario 21 2.5 Archaeological finds 22 2.6 Accessibility 24 3. SUBJECT OF THE COMPETITION 25 3.1 Scope of the intervention 25 3.1.1 Perimeter 1 - Technical and Financial Feasibility Project 25 3.1.2 Guidelines 27 3.2 Restrictions 27 3.2.1 Monumental restriction 27 3.2.2 Restrictions on the Arengario 28 3.2.3 Restrictions on public space 29 4. DESIGN INDICATIONS 30 4.1 Identity and relationship with the context 30 4.2 Museum concept 31 4.3 Functional program 33 4.3 Connection to and relationship with the First Arengario 34 4.4 Museum itinerary 35 4.6 Exhibition spaces 38 4.7 Materials and finishes 39 4.8 System engineering 39 4.9 Environmental sustainability 41 5. FINANCIAL LIMITS AND ESTIMATED COSTS OF THE INTERVENTION 43 6. REGULATORY FRAMEWORK 44 7. BIBLIOGRAPHY 49 3 FOREWORD Ten years after inauguration of the Museo del Novecento, the Municipality of Milan is launching “Novecentopiùcento”, an international design competition for the extension of the museum that is currently housed inside the Arengario in Piazza del Duomo - specifically in the east tower and in the so-called Manica Lunga - and in the rooms on the second floor of Palazzo Reale.