Cesar Pelli is one of those architects well-liked by the public, but not so well seen by other architects. The Argentine architect has had the opportunity to work from the second half of the 900 to nowadays. Its projects are still scattered in different parts of the world and manifest its activity even within contemporary stage.
In Milan, the last his work was that of Porta Nuova. Cesar Pelli has created the master plan and designed the pole of Gae Aulenti Square .Of this project we have already spoken (Post), but almost two years after his inauguration there are still many questions to ask. And there are many who criticize. The most important points of these discussions are identified in the absolute decontextualization of the buildings designed in the territory of Milan. In fact, if we exclude the recent “New headquarters of the Lombardy region”, a few others are the interventions with a similar character throughout the history of the city.
These doubts are inserted into the flow of the ideas about a great Italian architect, Mario Cucinella. Its position in this debate is dictated by its objection to the fact that Milan has always been an exporter of architecture and design, we think of the Pirelli Tower in the 50s and all the Italian design culture of the twentieth century. While in the case of Porta Nuova there is an adjustment to the international format born with the Manhattan skyscrapers made of iron and glass of the American dream.
Speaking on the issue, during the first meeting of the series of six lessons in architecture organized by the Politecnico di Milano in November on the occasion of its 150th, Cesar Pelli has responded in the most reasonable way as possible – at least from a logical point of view. The architect said that he thought about the future of Milan, the Milan that will be and that should be to keep up with the times. The link with tradition, always answering the question, is maintained through the social and spatial sense of the square. A tipical Italian element that he wanted to preserve and reload of this responsibility.
It is clear that the interview with the tradition is very weak and relative. With regard to the project, seems to have its own reason if we think about the future of the city.
Probably this is the logic that appeals to people, combined with the emotional involvement that citizens see in these signs of adaptation to other cities in the world. And even in this case Cesar Pelli has shown what are his priorities and his theories on architecture. Both coincide with its close connection with the audience, with people. In the conference at the Triennale, several times repeated that in his designs one of the most important aspects is related to the public spaces.
Cesar Pelli insisted in communicating his instinct to create architectures that can be opened to become hangouts and relational exchanges. You can’t blame nothing of this to the architect, but if the way to create these places, of which every city has a growing need, is to adapt to the latest international trends – then some doubts can certainly settle in the most sensitive oppositors.
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