The Milan venue of Fondazione Prada, conceived by architecture firm OMA—led by Rem Koolhaas—expands the repertoire of spatial typologies in which art can be exhibited and shared with the public. Characterized by an articulated architectural configuration which combines seven existing buildings with three new structures (Podium, Cinema and Torre), the venue is the result of the transformation of a distillery dating back to the 1910’s. In the project conceived by OMA, two conditions coexist: preservation and the creation of a new architecture which, although separate, confront each other in a state of permanent interaction. Located in Largo Isarco, in the south of Milan, the compound develops on an overall surface of 19.000 m2/205,000 ft2. Torre marks the completion of the Milan venue. The 60-meters high building is realized in exposed white concrete. Each of the nine floors of Torre offers an original perception of the internal environments thanks to a specific combination of three spatial parameters: plan dimension, clear height and orientation. Half of the levels is in fact developed on a rectangular floor plan, while the other half displays a trapezoid one. The clear height of the ceilings increases from bottom to top, varying from 2,7 meters on the first floor to 8 meters on the top level. The external façades are characterized by an alternation of concrete and glass surfaces, which allows exposure from a northern, eastern or western side on the different floors, whereas the top gallery space is exposed to zenithal light. The southern side of Torre presents a diagonal structure inside which a panoramic elevator is integrated. As stated by Rem Koolhaas: “The Fondazione is not a preservation project and not a new architecture. Two conditions that are usually kept separate here confront each other in a state of permanent interaction–offering an ensemble of fragments that will not congeal into a single image, or allow any part to dominate the others. New, old, horizontal, vertical, wide, narrow, white, black, open, enclosed – all these contrasts establish the range of oppositions that define the new Fondazione. By introducing so many spatial variables, the complexity of the architecture will promote an unstable, open programming, where art and architecture will benefit from each other’s challenges”.

An architectural gem: immersed in an ample private garden with a swimming pool and a tennis court and set in the center of Milan, the Necchi Campiglio Villa was completed by the architect Piero Portaluppi in 1935. Commissioning the structure was the Necchi Campiglio family, part of the rich and elegant industrial middle class of Milan in the 1930s. The disposition of the interior spaces corresponds to the traditional layout of noble homes: the daytime areas on the ground floor, the bedrooms on the first floor, the service rooms in the areas under the roof, and the den as well as the changing rooms and the bathrooms for the pool in the basement. The Necchi Campiglio family wanted above all to distance themselves from the traditions of their day, and planned ample areas dedicated to the reception of guests and to the social whirl: the dining room, the smoking room, the library and the grand salon. Right after WWII, areas of the villa underwent changes effected by the architect Tomaso Buzzi, who sweetened the linearity of Portaluppi’s style, and inserted aspects inspired of the 18th century, especially those in the style of Louis the 15th of France.

An icon of 1930s art deco in the heart of Milan. Villa Necchi was built by Pietro Portaluppi for the Necchi Campiglio family, which belonged to the Lombard industrial bourgeoisie. 

American artist Dan Flavin installed 'Untitled' at Santa Maria Annunciata in 1996, following an invitation from Italian priest Giulio Greco.

Home of the negroni sbagliato. God fun for an aperitivo served in a gigantic glass, especially popular during Salone del Mobile.