Cà Brüt­ta via Mo­sco­va

Gio­van­ni Mu­zio, 2013-2016

Abitare - - Architettura -

| L’in­ter­ven­to ha ri­guar­da­to le fac­cia­te e gli spa­zi co­mu­ni del no­to pa­laz­zo mi­la­ne­se. Le me­ti­co­lo­se scel­te ma­te­ri­che e cro­ma­ti­che, ope­ra­te dal ni­po­te del pro­get­ti­sta, han­no

ri­por­ta­to l’edi­fi­cio al­la sua de­fi­ni­zio­ne ori­gi­na­ria / The work con­cer­ned the faça­des and com­mu­nal spa­ces of the well-kno­wn Mi­lan buil­ding. The me­ti­cu­lous choi­ce of ma­te­rials and co­lours ma­de by the de­si­gner’s grand­son ha­ve re­sto­red the buil­ding’s ori­gi­nal ap­pea­ran­ce

QUAT­TRO RE­CEN­TI IN­TER­VEN­TI su ar­chi­tet­tu­re mi­la­ne­si del No­ve­cen­to rac­con­ta­no be­ne un te­ma di gran­de at­tua­li­tà: il re­stau­ro del pa­tri­mo­nio mo­der­no. Nel se­co­lo scor­so Mi­la­no ha espres­so pro­get­ti­sti di va­lo­re che han­no sa­pu­to in­trec­cia­re con par­ti­co­la­re mae­stria la co­no­scen­za del con­te­sto con l’in­no­va­zio­ne strut­tu­ra­le, l’uso di nuo­vi ma­te­ria­li di ri­ve­sti­men­to con un lin­guag­gio in dia­lo­go con la tra­di­zio­ne. Lo stret­to le­ga­me tra ar­chi­tet­to, com­mit­ten­te e ar­ti­gia­no ha pro­dot­to ca­po­la­vo­ri si­len­zio­si, ca­pa­ci di tes­se­re la nuo­va im­ma­gi­ne del­la mo­der­na cit­tà in­du­stria­le at­tra­ver­so la pre­ci­sio­ne del det­ta­glio e la spe­ri­men­ta­zio­ne dei ma­te­ria­li. Il tut­to in pa­ral­le­lo con la ric­ca cul­tu­ra fi­gu­ra­ti­va del­le avan­guar­die ar­ti­sti­che, i cui au­to­ri so­no sta­ti an­che pro­ta­go­ni­sti del de­si­gn ita­lia­no. Og­gi, men­tre il mi­lieu eu­ro­peo ri­sco­pre il No­ve­cen­to mi­la­ne­se, quel­la spe­ri­men­ta­zio­ne co­strut­ti­va mo­stra la sua fra­gi­li­tà e co­strin­ge a una ri­fles­sio­ne spe­ci­fi­ca at­tor­no ai di­ver­si mo­di d’in­ter­ven­to sui suoi ma­te­ria­li. Tra i pun­ti di for­za di que­sta “nuo­va architettura” c’era in­fat­ti la tra­spa­ren­za, con­sen­ti-

FOUR RE­CENT IN­TER­VEN­TIONS in Mi­la­ne­se 20th­cen­tu­ry works of ar­chi­tec­tu­re ha­ve a lot to tell us about a to­pi­cal the­me: the re­sto­ra­tion of mo­dern he­ri­ta­ge. Over the la­st cen­tu­ry Mi­lan was bles­sed wi­th a se­ries of ta­len­ted ar­chi­tec­ts who sho­wed par­ti­cu­lar skill in com­bi­ning an un­der­stan­ding of con­text wi­th struc­tu­ral in­no­va­tion and the use of new facing ma­te­rials, adop­ting a lan­gua­ge that was able to talk wi­th tra­di­tion. Clo­se links bet­ween ar­chi­tect, client and craf­tsman pro­du­ced so­me quiet ma­ster­pie­ces, whi­ch are able to sha­pe the new ima­ge of a mo­dern in­du­strial city th­rou­gh de­tai­led pre­ci­sion and ex­pe­ri­men­ta­tion wi­th ma­te­rials. All of this is in pa­ral­lel wi­th the ri­ch fi­gu­ra­ti­ve cul­tu­re of ar­ti­stic avant-gar­des, so­me of who­se ex­po­nen­ts al­so played a lea­ding ro­le in Ita­lian de­si­gn. To­day, ju­st as a Eu­ro­pean ar­chi­tec­tu­ral mi­lieu is re­di­sco­ve­ring 20th-cen­tu­ry Mi­lan, that struc­tu­ral ex­pe­ri­men­ta­tion is be­gin­ning to show its fra­gi­li­ty and re­qui­res spe­ci­fic re­flec­tion on dif­fe­rent ways of in­ter­ve­ning in its ma­te­rials. One of the strong poin­ts of this “new ar­chi­tec­tu­re” was in fact its trans­pa­ren­cy, ma­de pos­si­ble by doors, win­do­ws and clad­dings that over ti­me

STE­FA­NO TO­PUN­TO­LI

A de­stra, la Ca’ Brüt­ta nel 2011, pri­ma del re­stau­ro. In bas­so, uno de­gli an­dro­ni do­po l’in­ter­ven­to. Right, the Ca’ Brüt­ta in 2011, be­fo­re re­sto­ra­tion. Bot­tom, one of the en­tran­ce ways af­ter work was com­ple­ted.

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