XXIII TRIENNALE EXHIBITION/TIME CAPSULE
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GROUP 24 Carmen Alfaro - Ningyuan Li Aida Navidbakhsh-Carlotta Pluda
Politecnico di Milano Msc in Architecture and Urban Design HISTORY OF CONTEMPORARY ARCHITECTURE Prof. Frank Hartmut Friedrich Gustav A.Y. 2019/2020 1
Index 01
WHAT IS TRIENNALE?/personal impressions
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02
WHY IS TRIENNALE UNCOVENTIONAL?
29
03
triennale throughout the years
56
04
104
XXIII triennale/time capsule edition
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“I believe we are at a time in society where open and honest communication is not only necessary, but revolutionary. When governments and political systems are no longer a reference point for progress, we look to other places, such as creative institutions, to facilitate that dialogue. Our aim is to change the definition of what it is to be a cultural centre; the Triennale will be a place of reflection and debate, connected with the contemporary culture in a dynamic way that offers new point of view on topics that lie at the very core of our global society.� Stefano Boeri, President of Triennale
3
Back in 1923, the first international exhibition of decorative arts was held in Monza. In 2023, celebrating the 100th anniversary of this event, we are planning to held the XXIII Triennale “Time Capsule” recovering the most important objects, paintings, pavilions … which have taken part in Triennale’s history.
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Design & art museum Located in Sempione Park Housed in Palazzo dell’Arte International exhibitions Since 1923 From Monza (Biennale) to Milan (Triennale)
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what is triennale? 7
1923 - 2023
23rd TRIENNALE 100 years of history 8
9
WE WERE IMPRESSED BY ... 10
double height arch
transverse volume materials reddish clinker & light grey stone
ENTRANCE 11
"I believe that the bridge unites, also in a metaphorical sense; above all today I believe there is a need for tolerance, that we need bridges," says De Lucchi: the bridge is intended to unite 2 spaces but also 2 times, Giovanni Muzio's time in the past and the time of the new Triennale today. 12
ACCESS BRIDGE
2007
connection to the atrium wood + steel + glass
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GIARDINO
play, enjoy, air, green, art, social, relax, breathe, see transition space Palazzo dell’arte & Sempione Park
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“the mysterios baths fountain” Giorgio de Chirico
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TORRE BRANCA
Gio Ponti, 1933
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108.6 m high iron panoramic tower
Sempione Park
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ketch
VERY
bserve
JOUR
triennal
rawing
DISCO
rchitectur
olour
esign
materials
istor
NEY light 17
which is the relationship between
18
triennale and milan?
19
TRAN ITION
Triennale as the
SPACE
between the city & Sempione Park
12 20
21
orthogon l
Castello Sforcesco Arco della Pace Arena & Triennale
axes
in Sempione Park 22
nature
blending with
23
green areas
Triennale inside Sempione Park
12 24
12
25
12
Triennale inside the city Triennale inside the city
buildings buildings
main & secondary roads
paths
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27
28
why iS TRIENNALE-
UNCOnVENTIONAL? 29
HISTORY AND MISSION
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1923. THE FIRST INTERNATIONAL EXHIBITION OF DECORATIVE ARTS IS HELD IN MONZA.
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1933. THE TRIENNALE DI MILANO COMES TO LIFE IN THE NEW PALAZZO DELL’ARTE. The event is held every two years in the park of Monza’s Villa Reale, with the objective of stimulating the relationship between industry, art and society at large. Post war Italy looks to industry for an opportunity of renewed prosperity, and to creative design for the unifying element of its productions. From its very beginning, the event is geared towards a unifying idea of all forms of art and creative expression, strictly linked to social evolution and economic development.
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1936. THE GREAT NAMES OF THE 20TH CENTURY. The desire to assert the unity of the arts manifested itself already in the V Triennale in 1936, with the mural paintings of great artists such as De Chirico, Sironi, Campigli and Carrà. This intense relationship between the Triennale di Milano and its artists grew in the following decades with exhibitions of the work of Fontana, Baj, Martini, Pomodoro, de Chirico, Burri and – more recently – Merz, Paolini and Pistoletto.
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1951. RECONSTRUCTION, DESIGN AND INDUSTRIAL DEVELOPMENT. In the immediate post war years the Triennale tackled the problem of reconstruction by promoting, with Piero Bottoni, the building of the experimental QT8 area, in Milan’s Monte Stella district. In the 50’s it also addressed the issue of industrial design, with shows dedicated to this specific sector. The phenomenon of Italian design evolved exactly at that time and was associated to the cult of all things Made in Italy, alongside the country’s industrial development.
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1960. EMERGENCE OF ECONOMIC AND SOCIAL PROBLEMS Then, starting in the 60’s, the Triennale had to face the problems linked to economic development and social transformation, producing exhibitions such as La casa e la scuola(Home and school) in 1960, Il tempo libero(Free time) in 1964, Le città del mondo e il futuro delle metropoli (World Cities and the future of the metropolis) in 1988, Identità e differenza (Identity and difference) in 1996.
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2019. What it is to be a cultural centre I believe we are at a time in society where open and honest communication is not only necessary, but revolutionary. When governments and political systems are no longer a reference point for progress, we look to other places, such as creative institutions, to facilitate that dialogue. Our aim is to change the definition of what it is to be a cultural centre; the Triennale will be a place of reflection and debate, connected with the contemporary culture in a dynamic way that offers new point of view on topics that lie at the very core of our global society. Stefano Boeri, President 36
Development of Plan
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Triennale Milano . 1940
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Triennale Milano . 1954
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Triennale Milano . 1973
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Contrast (1951 and nowadays)
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Space composition
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44
45
46
47
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development of Exhibition
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Topic of Exihibition 1940
1954
1973
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Way of Exihibition
Renovation of Inside
1940
1954
1973
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Modern Exihibition layout
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Social effect
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The relationship
Use the sym-
between per-
bolic image of
ception, space
the flag to por-
and time.
tray a political landscape in an evocative way.
Self-irony and
<OTTO> is ec-
poetic lightness,
stasy: irreverent,
in the manner of
curious, destabi-
Pina.
lizing and moving.
A dazzling the-
Fargion mix
atrical language.
their idiosyncrasies with passion. 54
Whether for pub-
The infinite future
lic consumption
that the brand has.
or top-level design works.
Giving life to their
Creatively provides
â&#x20AC;&#x153;painted architec-
a space-saving
tural worksâ&#x20AC;?.
solution.
Topic in 2012:
Topic in 2016:
The dream factory. Design and Women
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TRIENNALE throughout
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iTHE YEARS?
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60
61
62
63
64
65
66
67
68
69
70
71
72
73
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75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
e
101
102
103
why it had a bigger influence
104
in the past? 105
KEEPING UP WITH THE INTERNATIONAL TENDENCIES 106
107
International expositions helped the country to realize its need to create a moment in which knowledge and creativity could flow with NO BOUNDARIES
108
OFFICIAL
After 1968 there was a lack of officiality and public attendance
OFF-THE-RECORD 109
NEEDS AND TIMES HAVE CHANGED
110
111
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100 YEARS AFTER THE FIRST TRIENNALE EXHIBITION THE AIM OF TIME-CAPSULE IS TO BRING BACK ALL THE PAST EXHIBITIONS IN ORDER TO UNDERSTAND WHAT THERE WAS BEFORE AND USE IT AS A STARTING POINT FOR NEW EXHIBITIONS. THIS IS IMPORTANT TO UNDERSTAND THAT 112
OFFICIAL EXHIBITIONS SHOULD NOT BE STUCK WITH THE OFFICIALITY OF THE EVENT BUT NEED TO FOLLOW NEW GENERATIONâ&#x20AC;&#x2122;S NEEDS AND EVOLVE WITH THE
PROGRESS. 113
1923
1. Vaso con Maiolica
2. Vaso con Maiolica
1925
3. A. Bucci Vaso in ceramica
1927
5. E.N.A.P.I. Toeletta
6. Treves, Bestetti Padiglione del Libro 114
11
4 2
16
3 1
14
115
1930
7. P.Bevilacqua Mobile
8. T. Buzzi Mobile da studio
1933
10. A.Pica Sedia
9. E.N.A.P.I Orologio
1936
11. L.Fontana Anima di ferro
12. M.Pagano Ingresso del Giardino 116
1940
13. F. Fariello Modello E42
14. H. Navarre Vaso in vetro
1947
16. P. Bottoni Modello QT8
15. L. Canella Sedia
1951
17. C. Pagani Poltrona
117
18. F. Nosengo Poltrona
1954
19. Bigatti Cesta in vimini e bicchieri
20. Arteluce Lampada
1957
22. A.Benetton Cespuglio
21. F. Poli Vasi
1960
23. Mostre temporanee. Mostra delle opere dâ&#x20AC;&#x2122;arte inserite nellâ&#x20AC;&#x2122;architettura
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24. 12. Salone dâ&#x20AC;&#x2122;onore. Mostra storica del piatto e della posata - Ernesto Nathan Rogers - Enrico Peressutti
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2 21
18
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1964
25. Brion Vega, Marco Zanuso e Richard Sapper Apparecchio per filodiffusione e televisore portatile
26. De Gotzen Machinacaffè
1968
27. Lynn Chadwick Sculture piramidale
28. Alison e Perter Smithson Decorazione urbana
1973
29. Gruppo giapponese Le cinque scale 2
120
30. Carlo Mo Scultura in lamiera dâ&#x20AC;&#x2122;acciao
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27
121
1976
31. Lo spazio audiovisivo Spazio reale-spazio virtuale Installazione Abitare e essere ovunque a casa propia
32. Secondo ciclo Spazio connettivo
1992
34. Georg Gerster La prospettiva a volo dâ&#x20AC;&#x2122;uccello
33. U. Boccioni Scultura
1996
35. Padiglione Italia - Edipo e la Sfinge, cimitero degli artisti e dei poeti 122
36. La Triennale nella cittĂ
31 29
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123
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sempione park
Triennale expands towards the park, recovering: sculptures, fountains, pavilions, bridges, tunnels, towers from previous exhibitions 12 125
12
6
126
30
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127
128
1930. Casa Elettrica
1960. Scultura Viani
1957. Fabric Pavilion
129
1954. Geodesic Dome. FĂźller
1964. Plastic cover
1954. Labyrinth & kids. Rogers
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1964. Iron bridge. Rossi, Meda
1968. Tunnel Pneu
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1964. Roulotte
1933. Torre Littoria
1936. Fontana Monumentale