Metaphysical Monumentality

Metaphysical Monumentality

PROCESS TAGS

MArchII

CONTENT TAGS

Memory

LOCATION

Milan, Lombardy, Italy

Project Description

Lombardic Transformations in Milanese Modernity

“I do not believe in inventing new forms. I believe in the continuity of the architectural tradition. Every building is built on the memory of the ones that came before.” – Aldo Rossi. This thesis explores notions of memory, monumentality, tradition and the metaphysical within Milan’s modernist context; through Unit XX methods of making, collage, addition and subtraction. The proposed building is a music conservatory in central Milan which acts as an extension to the existing Verdi Conservatory.

The building is a combined works composed of transformations to an existing 16th century church and 1930’s monastery. “We must capture the thread that connects things, an element of permanence, the “soul” of the city” -Aldo Rossi. How do we access the Lombardic Memory? The “soul” of Milan is in my opinion the collective memory and tradition of the city, which I have named Lombardic Memory. The monuments which make up Milan are embodiments of this Lombardic memory.

In order to propose meaningful architecture, we must understand, access and transform this Lombardic memory. To do so, I have investigated three Milanese protagonists, who have drawn upon this memory as a generator in the design of their objects and buildings which are so important to Milan’s 20th Century monumentality. They are: architect Aldo Rossi, architect Giovanni Muzio and the metaphysical painter Giorgio De Chirico. How do we reactivate the pathological monument? The selected site, the Chiesa & Convento di Sant’Angelo, is at present a pathological monument. It is a relic of the past. Despite its historical and architectural value, the assemblage has become disconnected from the city. To strictly preserve all elements of the assemblage would be to perpetuate the pathological nature of the building.

If the monument is to evolve, we must decide what to remember and what to forget. I intend to transform the assemblage into a propelling monument, adding and subtracting to its form as to evolve its use and meaning, reactivating the monument so that it might once again drive the vitality of the city.

John Ardagh

MArch

This year I have focused exploring the sublime. I have tried to design an architecture of sounds and tactile experiences that aims to evoke a sense of calmness. This theme was inspired by Peter Zumthor's thinking - he says that buildings can be designed to produce a certain tone, just like a musical instrument. The centre of my Miners Welfare project is the closed garden. The garden is surrounded by a deck and high wall of stacked timber which resonates to the music of footsteps and the swaying of long grass. The pattern of the stacked timber was designed to reference the rhythm of the brick walls of the existing building.