| ... a perfect union between modernism and "spatial" mechanization, in a futuristic sense. |
doorhandle
> Velasca
Who are they BBPR
Emma doorhandle (1967
prod. Olivari)
| From
the book "L'architettura presa per mano" (Hand on architecture) by Stefano Casciani,
Idea Books, Milan, 1992 "Design as a union of utility and beauty ... function conceived as a synthesis between rational projection and the technique of execution, between invention and environmental pre-existence ... architecture as an actual experience and as a theory that can only be verified at the building site". Although these words sufficiently convey the sense of their rigorous theoretical approach, there are not many buildings designed by the group formed by Banfi, Belgiojoso, Peressutti and Rogers that can be presented as concrete examples: without doubt, the Velasca tower in Milan (1956-1958) is an exception in this sense. This structure also overcomes the boundaries of any modernist theoretic approach, and has become an emblem of the boom of Italian society of fifties; at the same time it is an embarrassing, heretic example of what modern architectural culture could have expressed if it had been accepted by enough customers, as it was in other European countries. |
 The
Velasca tower, Milan (1958) |
Indeed, the Velasca tower is an unique exploit, an as yet unexplainable miracle (if compared with the colourless Milanese urban landscape): a tower for offices and residential apartments, an integrated microcosm of the city, a place for cultural and practical experimentation of a progressist idea - also from a political standpoint - of the project. This is even harder to explain, when considering the studio's activity on the whole: the BBPR have, first and foremost, excelled in the theoretic battle, influencing generations of architects through their activity as university professors (Belgiojoso, Peressutti, Rogers), as editor of the "Casabella" magazine (Rogers), and as authors of books and essays of fundamental importance. Their activity in the field of true design (with the exception of interior design of buildings and museums, of which they are amongst the best interpreters) is quite insignificant. Their concepts with respect to design of mass produced objects is almost solely illustrated by their projects of interior decoration, in particular office furniture for Olivetti. Their Spazio series of writing desks (1956) features a perfect union between modernism and "spatial" mechanization, in a futuristic sense; the other series, Arco (1960) is an uncommon example of knock down furniture for offices. Also their ideal of the complete project is best represented by the Velasca tower; the handles for the doors and the windows (this commission was the first step of the relationship with Olivari) are true objects of design, however free and "organic" they are in their form. The BBPR group has brilliantly cut the ideologic and formal rigour of modernism down to size: standard is not necessarily synonymous with geometry. |
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