Without a doubt one of the best examples of Italian neo-realism: the director himself claims to have thoroughly inspected Milan, from centre to periphery, in order to personally choose all locations.
The film begins at the Stazione Centrale, where the elderly Rosaria arrives from her hometown with her five children looking for a future in the industrialised capital of Lombardy, as so many other families from the southern regions did between the '50s and '60s. But the city they encounter is hostile, grey: Visconti uses Milanese architecture on the periphery to show the most conflictive and dramatic aspects of the city's uncontrolled growth, in an almost theatrical approach.
The scene on the roofs of the Duomo is beautiful, as is the harsh portrait of Fabio Filzi, the social housing district designed in fascist times by Franco Albini (Gregotti's teacher) where the family is forced to cram into a tiny rented basement that still remains the same.see
Winner of the Palme d'Or at the 31º Cannes Fil Festival, the film is set in the period between 1897 and 1898, and tells the story of the daily life of four peasant families who live in a cascina, a typically rural building style in northern Italy, consisting of a set of buildings grouped around a large courtyard, and including stables and barns.
In a scene that depicts the journey of a newly married couple along the canals leading to Milan, with a Bach cello suite as soundtrack, several buildings destined at that time to be the summer residence of the Milanese bourgeoisie can be identified, such as Villa Gaia, in Robecco sul Naviglio, the Castelletto di Cuggiono bridge or the Bernate Ticino parish church.see
A journey through the visual archive of architect Piero Portaluppi, who made a great impression on the city of Milan with the Hoepli Planetarium, the RAS building and countless villas for the wealthy Milanese in the 1920's and 1930s. The 'amateurism' referred to in the title of this experimental documentary was revealed a few years ago thanks to the discovery of a 16 mm film collection, which he shot, edited and delivered with title sequences.
In these short films this man (who at one point tracked the exact amount of soup, meat, wine and salad he consumed in a year) gives an equally controlled impression of his personal and social life during a turbulent period of Italian history. A period during which Portaluppi's architectural style evolved from Neo-Gothic to Modernism and entered elite circles where he met his clients, as well as effortlessly adapting to the dominant ideology of Mussolini's fascism.see
Video of the exhibition at the Pirelli HangarBicocca centre in Milan, Italy, dedicated to a set of facilities crucial to the work of Italian artist Mario Merz: the igloos. Mario Merz conceived the first igloo for a collective exhibition in Rome in 1968 and since then he continued producing igloos of different sizes and materials until his death in 2003.
For Mario Merz, the igloo is a metaphor of space and the place inhabited by humans. Their igloos are often made of a metal frame covered with fragments of materials such as clay, glass, stone, jute and metal.
The exhibition 'Mario Merz: Igloos at Pirelli HangarBicocca' presents more than 30 igloos of different sizes and materials, organized in chronological order (1968-2003). The exhibition was curated by Vicente Todolí in collaboration with Fondazione Merz and took place between 23 October 2018 and 24 February 2019.
Photo: P A Black © 2018see
A large abandoned industrial area in northern Milan: Pirelli-Bicocca, a large urban planning project by Vittorio Gregotti. Once called the Stalingrad of Italy, for the concentration of factories and workers, the area now houses the new Università degli Studio Milano-BIcocca, the Teatro degli Arcimboldi, research centres, accommodation, Siemens and Deutsche Bank headquarters, Pirelli, multiplex cinemas.see
Ester Roldán (1976), architect who graduated from the ETSA of Valladolid and DEA from the ETSA of Barcelona.
In 2000, she founded longo+roldán arquitectos with Víctor Longo.