sedia rossa volantino

The streets of art and solidarity intersect those of Sim-patia , a center for disabled people based in Valmorea (Como ), to share a project of artistic creativity.
The starting point are fifty red chairs, offered by the Riva 1920 to “Orticolario” (an event which takes place annually at Villa Erba) for an art performance by the Swiss artist Daniel Berset and donated by Orticolario  to Sim-patia for its charity project . The chairs have been transformed , disassembled, reassembled and painted by architects, designers and artists to create new original works that will be auctioned on November 10th with charitable purposes at the Casa del Fascio in Como.
Angelo Monti has dissected the chair , applying it to a plywood panel. A red chair becomes a seat for 2, but also it could be a chaise -longue, a shelf, a screen etc.
This ” divertisment ” is named ” unasediaX2 ” and it is accompanied by a leaflet that illustrates the many variants and the possible uses of this panel and possible evolutions of system.
Not an artistic gesture but a reading of design.

The red chair was at “Triennale di Milano” for the exhibition “50 sedie d’autore all’asta” from  October, 24 to  November, 3 2013

Senza Titolo2
The principle of the project has been to focus on the relationship and the dialogue with the context and the orographic structure of the site. This assumption has not been interpreted in terms of architectural language, but on that of the settlement choices. It was felt that an “abnormal” type in the local building tradition, as a public garage, does not take materials and shapes from the architecture of the place, but rather, seize the morphological characters of the local settlement structure. The second objective was to measure the new plant with the “volumetric weight” of the buildings of the valley, characterized by buildings of limited size, with a maximum height of four storeys and aggregated into groups. In plan the building has been “broken” in separate structures, generated by a main body, as “erratics” of the mountain. The infrastructure endowment is then completed by the bridge, the tunnel connecting with Ischia and pedestrian and cycle paths. The project is divided into five levels with a total surface of ​​10,425 sq/m, served by a single two-way ramp. On the first floor has been covered entrance ramp to the vehicle and some service facilities. Below the entrance floor of the garage, one can use four levels of parking. Each plan allows a variable number of 51 to 61 cars per floor. Great attention and interest was paid to the choice of building materials. The choice of a language not vernacular intends to deal with the rocks of the landscape, relying on materials to emphasize that. The entire structure of the garage is made in a massive structure of concrete, additived with pigments and aggregates derived from the crushing of the same rock that must be removed in the excavation. The processing will be deliberately rough and “brutalist” to emphasize the artificial nature, but just as akin to natural rocks. A pattern of holes-modulated by a texture detected with a fractal pattern on the porosity of the rocks establish the necessary ventilation. This “porosity” of the concrete during the long night hours of the mountain, will filter the light from within, becoming an opalescent sign as a symbol of identity. Corten steel is the main material for the bridge structure and accessories. The pedestrian and cycle paths along the river and through the woods of Ischia, are designed as walkways straight wooden.

The project intends to introduce an ordering principle in the urban landscape, here characterized by the typical low-density expansion of sprawl urbanization spread and, therefore, a “vagueness” context. For this reason, it confirms the prevailing orientation of the existing urban fabric, regardless of solar exposure considerations that have been postponed and addressed through the detailed distribution of housing and the parts of the buildings. The proposal, to the best of its limited territorial dimension, turns on a “device” to redesign the systems of relationship spaces and the public-private partnerships in the areas of new urbanization expansion of settlements. The new facility is divided into three separate volumes, ideally organized around a green central space, a true hinge of the entire complex. An open court that returns and interprets the historical types of rural areas and its man-made structure. Combining the “mixitè” typological required, but significantly limiting the system of vertical connections, all the complex is distributed by three blocks-scale elevators able to distribute 37 housing, in the version given by the example project. Flexibility, articulation and typological variation are the conditions that the project proposal has interpreted and safeguarded.

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Monography, preface by Luigi Alini

Year: 2011
Publisher: Libria

The text and the interpreter, the work and its explanatory interpretation. As Starobinski  suggests, the implications

involved in this relationship make up “a necessary dualism”, since the object, like the eye that sees it, is not indifferent, or detached: the act of “seeing” includes in itself a vested interest towards “that” work; in seeing, we are making clear not just an objective condition but also a specific point of view, which is obviously not the only one possible. It is with this awareness that I approached the work of Angelo Monti, and which has allowed me to carry out a cognitive enquiry starting with his way of breathing life into architectural projects: the invariables, the typological elements, the relationship with the existing building, the materials and the techniques used. From the way in which Monti carries out his ‘trade’, reading between the lines of his actions, there nevertheless emerges another less visible yet more intimate world: geography of the soul which transcends the application of a rigorous professional method. Therefore this book explores not only several significant moments in the work of Angelo Monti during the course of a considerable timescale (1980 – 2010), but also the well-laid out itinerary of a journey that is much more than a professional character. Continuity and consistency are the “hallmarks” of Monti’s work, in which there are always certain unchanging elements, notwithstanding the diversity of the objectives. Monti seems almost stubbornly driven to examine and test the nature and principles of a school, of a “non-extreme modernism”, that hark back to some of his previous works. With the strength and firmness of his profession, Monti has, over time, found a balance between the different requirements that inevitably influence a project: place, materials, time, budget, and functions. The Casa unifamiliare (single family house) at Cermenate (1984-86) for example, combines the modernistic lexicon of pure spaces with the expressive quest in the use of exposed brickwork. In material terms, the use of exposed brickwork calls to mind another world, the agricultural past of these places. Monti evokes memories without falling into romanticism or nostalgia: “I believe in architecture as memory, Calvino reminds us that the city doesn’t talk about its past, it contains it”, and he acts with rigorous method, applying a consolidated working model that characterizes a generation of designers and planners trained in the modernist Italian school. He has progressively refined, adapted, and “folded” this method, according to the sensitivity and identity of the context of reference, those objective conditions that are behind architecture and that make it possible. The single family house at Cermenate (1990-1992) is an evolution of that of 1986. The themes persist: the use of exposed materials evolves within the expressionist lexicon following the structural order. The search for variations on a theme also continues with the single family house project at Seveso (1992-1994). The exposed brick curtain wall remains the focal point of the dialogue with the city. The planimetric layout evolves towards an disjointed geometry, towards interstitial spaces and areas that allow the perception of different levels of depth. The shadows heighten the spaces, which lose the stiff geometric rigour of the previous experiences in favour of an “expressionist” plasticity. In a renewed lexicon, Monti ties together certain traditional typological elements: patio and portico, for example. In the non-domestic restructuring tasks, such as the Palazzo Landriani-Caponaghi at Seregno (1999 – 2004) , Monti acts decisively and resolutely. He deals with three historic council-owned properties, and liberates them from superfluous additions from the 1950s thus restoring their original appearance. The reconstruction of the façade giving onto the adjacent square gives the opportunity for a modernist addition, which suggests rhythm and sequence in the filled and empty spaces. The internal areas, instead, undergo a functional rearrangement according to their anticipated usage. The generative principle adopted for the finishing of the facade involves the creation of intrados within the ceilings, where in a modernist style, Monti redefines the lacunar logic: steel ceilings, with caisson squaring and beams which maintain the rhythm of the antique ceilings. In this operation Monti highlights one of his strong points, the ability to bring the world of the artisan into the creative context. Spaces are ‘built’ like crafted objects, the result of a continuous dialogue with the artisans involved, how to make the best of that skill, that action, that wisdom that Monti turns into a story, a ‘story’ that reaches its conclusion in its materiality: “I like the logical creation of matter from material; in my work, this transition is almost an emulsifying process (…). Light is also a substance, like the texture of a material, its level of opacity, its granular quality. I like the sincerity of materials.” Architecture is not just the wise playing with spaces under light; it is light that interacts with matter. Monti deals with this awareness without falling into the trap of excessive virtuosity, a topic often resolved instinctively, without straining or showing off. In my opinion, the quality of Monti’s work can be summed up precisely in his masterly ability to manage complex processes. Architecture is not a ‘happening’, it is part of life, and has a social and ethical dimension. Monti doesn’t go for the shocking, the theatrical effect: he has the maturity, the strength and the stubbornness to act in a structured way, with a solid approach that claims the ethic dimension within architecture. The spaces in his architecture are characterized by a sober elegance, which is the hallmark of his nature and his way of dealing with the world. The care and attention that he devotes to his work can also be seen in the graphic presentation of his projects. The precision, the accuracy, the in-depth study of every element demonstrate a sense of ethical adherence to the project that extends to the practical side. The graphics are created in order to define a constructive process, a series of focused operations, not to finish on the pages of glossy magazines. Real problems are considered in the straightforward prose, not ephemeral concepts more for talking about than creating; Monti is never ostentatious, or excessive. Rather than something to put on display, his architecture is the perennial quest for perfection, with the knowledge that at the very moment when it is within reach, it disappears. In this continuous challenge, with material and its “substance”, its “gravity”, its earthly nature on the one side and on the other the world of ideas and shapes that come to life in this matter, Monti continues with that stubborn and ‘patient quest’ which is not always due or ascribable to rational facts, because, if on the one hand the links between material and form are related to “measurable quantities” (cost, performance, techniques, etc.) on the other, certain aspects elude an objective evaluation and enter the realm of the unexpected, they become part of that unfathomable current of intimate “personal motivation”, those convictions that each of us puts into our daily work. Through shape or form, eidos, – the Greek word that returns to the concept of idea, of image – brings us back to matter as the condensation of a substance: «eidos is that which causes a thing to be what it is, and without which it loses its meaning» . Because in the moment in which we create a relationship between form and matter we no longer distinguish the one from the other, we no longer see an idea of separateness between an objective starting point (the material, the place, the impartial conditions involved) and a point of arrival (the shape); we recognize in the mattershape duality a bijective agreement, an alliance. It is this same alliance that in Angelo Monti’s work can be best summed up as “a possibly anachronistic principle of resistance to the logic of consumption and waste that has become obvious with the disappearance of the concept and value of architecture, and the way in which the modern world treats it, never so much as now at the centre  of media attention and never so little widespread as ‘banal’ ”. In the light of this “disciplinary redemption”, the story of Angelo Monti’s work told through the selection of works presented here makes clear the desire to put something under discussion once more: the crystallization of a balance and at the same time, the need to overcome it in order to turn his gaze elsewhere. A gaze that I hope will allow him to reduce that sense of ‘distance’ that sometimes appears in his rigorously Cartesian architecture, a distance that is more intellectual than real. I am sure that for Angelo Monti this book will act as a kind of break, or separation, since focusing on several outstanding results will unwittingly cause to prevail in Monti that sense of perfection in imperfection, which is so dear to the Japanese culture of wabi sabi and to which, through shared interest, both Angelo and I turn.

mies van der rohe

flyer RU  fronte
The conference aims to reflect on a central theme for the promotion policies and socio-economic development, through a critical analysis of the different phases of implementation of urban regeneration programs, aware of how more and more necessary to measure the theoretical approach with the application on real operational models.

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The exhibition, curated by Pierre-Alain Croset and staged by Marco Angelo Monti and Ortalli offers an important synthesis of the one presented in 2012 at the National Academy of San Luca in occasion of the centenary of the birth of the architect Cesare Cattaneo Como (1912-1943). The exhibition is conceived around the choice of about 100 sketches and autographs, along with plastic original and new, showing how they form the architectural thought of Cesare Cattaneo, a thought characterized by high and deep ideals. The act of drawing represents a real writing, in the sense of the graphic transcription of a thought: many sketches show the intensity of project activity that produces changes, thoughts, sometimes radical alternatives. The analogy between sketching and writing is a kind of “fil rouge” of the exhibition at the level of the choice of materials to be displayed, but also for the principles of the display project, which offers two different levels of reading: the autograph drawings, mounted for single or series are reproduced in scale with real high-definition and digital prints are accompanied by brief didactic texts which help the visitor to decipher the specific meaning. On the walls an editing assembly of textes, quotes, photographs, enlargements of details, constitutes a “visual story” that connects among them drawings and theoretical texts, formal themes recurring in different projects, fragments of individual drawings and construction details of the buildings.

le tracce del futuro

From August 30 to September 9, 2012 has been proposed to the city and citizens a special itinerary of urban strategy that we like to call “The City of Culture”. The landscapes of the city are not dumb. Knowledge, stories and emotions, talk about collective memory. Therefore, listening the past, knowing how to read the traces and signs handed down, we can better shape the future. The architectural and literary route realized calls for a design reflection, whose mover is the rationalist heritage of 900.
This network of sites, which includes the Casa del Fascio (or rather the so-called Rationalism Isle, that is, Casa del Fascio and former ULI), the water front, the gardens, the stadium, the proto-rationalist city, the Gelpi promenade, Villa Olmo, is an extraordinary story of sedimentation able to give answers for open museum for recreational, cognitive sites indispensable for a city that seeks to affirm its identity.

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