History
The palace was built for entrepreneur Ermengildo Castiglioni, who chose architect Giuseppe Sommaruga because of his anticonventional solutions. Castiglioni wanted the palace to reflect his wealth and grandeur; the choice of the Liberty style, a new and "trendy" style, for a building that would be located in the historic centre of Milan, was intended by Castiglioni and Sommaruga as a sort of challenge to the Milanese conservative élite. The most provocative element of the original design turned out to be a couple of nude female statues, by Ernesto Bazzaro, decorating the facade; these raised such turmoil that the local newspaper Guerin Meschino published a series of satyrical illustrations on them, and the Milanese population renamed the palace "Cà di ciapp" (in Milanese, "house of buttocks"). The statues, that were intended to represent "Peace" and "Industry", were eventually removed and are now used as decorations of another Milanese palace also by Sommaruga, the Villa Romeo Faccanoni on Via Michelangelo Buonarroti #48.
The furniture was destroyed by the US army that occupied it in 1945-46 and used it as wood for heating. Only decorations, facades, iron work and lamps were saved. The building was put under the protection of the Beaux Arts on March 5, 1957.
In 1967 the Castiglioni family sold the building to the Union of Commerce because of high costs of maintenance and a tax to finance the construction of the subway. Architect Eugenio Gerli and engineer Giorgio Keffer signed the project to transform it in an office building. They kept the entrance, the staircase, some large rooms on the first floor, the facades and the house on via Marina. The remaining part was emptied, an auditorium was built under the garden, a new building was built next to the house on via Marina. The Art Nuoveau expert Rossana Bossaglia opposed the project and asked to use the building as Art Nouveau Museum. The superintendent approved the project because the Trader's Union of menaced to let the building deteriorate. [1]
In the 150th anniversary of the birth and the 100th anniversary of the death of Arch. Sommaruga Confcomercio has organized a convention in the building on October 20, 2017, with an exhibit of pictures of the Castiglioni family and has opened it to free guided tours on October 21 and 22 ottobre from 10 am to 6 pm. [2]
Lodi is a city and comune in Lombardy, northern Italy, primarily on the western bank of the River Adda. It is the capital of the province of Lodi.
The Galleria Vittorio Emanuele II is Italy's oldest active shopping gallery and a major landmark of Milan in Italy. Housed within a four-story double arcade in the centre of town, the Galleria is named after Victor Emmanuel II, the first king of the Kingdom of Italy. It was designed in 1861 and built by architect Giuseppe Mengoni between 1865 and 1877.
Liberty style was the Italian variant of Art Nouveau, which flourished between about 1890 and 1914. It was also sometimes known as stile floreale, arte nuova, or stile moderno. It took its name from Arthur Lasenby Liberty and the store he founded in 1874 in London, Liberty Department Store, which specialized in importing ornaments, textiles and art objects from Japan and the Far East. Major Italian designers using the style included Ernesto Basile, Ettore De Maria Bergler, Vittorio Ducrot, Carlo Bugatti, Raimondo D'Aronco, Eugenio Quarti, and Galileo Chini.
Giuseppe Sommaruga (1867–1917) was an Italian architect of the Liberty style or Art nouveau movement. He was the pupil of Camillo Boito and Luca Beltrami to the Brera Academy in Milan. His monumental architecture exerted some influence on the futurist architect Antonio Sant'Elia.
Achille Castiglioni was an Italian architect and designer of furniture, lighting, radiograms and other objects. As a professor of design, he advised his students "If you are not curious, forget it. If you are not interested in others, what they do and how they act, then being a designer is not the right job for you."
BBPR was an architectural partnership founded in Milan, Italy in 1932.
Villas and palaces in Milan are used to indicate public and private buildings in Milan of particular artistic and architectural value. Milan has always been an important centre with regard to the construction of historical villas and palaces, ranging from the Romanesque to the neo-Gothic, from Baroque to Rococo.
Italian Baroque architecture refers to Baroque architecture in Italy.
Casa Panigarola, also known as Palazzo dei Notai, is a historic building of Milan, Italy, located in Piazza Mercanti, former city centre in the Middle Ages. It is named after the House of Panigarola, a family of notaries from Gallarate, that owned the building until 1741. The building thus served as a notary seat, and the activities therein were strictly related to those that occurred in the adjacent Palazzo della Ragione, where trials were held.
Casa Campanini is an art nouveau building in Milan, Italy, located at 11, Via Bellini. It was completed between 1903 and 1906 by architect Alfredo Campanini, who later inhabited the building.
Neoclassical architecture in Milan encompasses the main artistic movement from about 1750 to 1850 in this northern Italian city. From the final years of the reign of Maria Theresa of Austria, through the Napoleonic Kingdom of Italy and the European Restoration, Milan was in the forefront of a strong cultural and economic renaissance in which Neoclassicism was the dominant style, creating in Milan some of the most influential works in this style in Italy and across Europe. Notable developments include construction of the Teatro alla Scala, the restyled Royal Palace, and the Brera institutions including the Academy of Fine Arts, the Braidense Library and the Brera Astronomical Observatory. Neoclassicism also led to the development of monumental city gates, new squares and boulevards, as well as public gardens and private mansions. Latterly, two churches, San Tomaso in Terramara and San Carlo al Corso, were completed in Neoclassical style before the period came to an end in the late 1830s.
Casa Guazzoni is a building at via Malpighi 12 in Milan in the Liberty style, or Italian Art Nouveau.
Eugenio Gerli was an Italian architect and designer. In an intense working life spanning more than six decades, Eugenio Gerli explored many different areas of his profession. He built villas, apartment blocks, office blocks, factories, banks and stores, and also restored historic buildings. He often completed his works with custom-made interiors and furniture.This diverse range of projects inspired his industrial design and today many have become icons, like the S83 chair, the PS 142 armchair Clamis, the Jamaica cabinet and the Graphis System.
Sebastiano Giuseppe Locati was an Italian architect. He became famous at the turn of the twentieth century for his efforts in designing structures in eclectic and Art Nouveau styles.
Eugenio Soncini was an Italian architect.
Palazzo Arese was a 16th century baroque palace and seat of a branch of the House of Arese in Milan, Italy. It was located adjacent to Casa Fontana Silvestri near the Porta Orientale. The palazzo was demolished in 1943 following damage sustained during the bombing of Milan in World War II.
Giuseppe Palanti was an Italian painter, illustrator, and urban planner, best known for his portraits, notably of Mussolini and Pius XI. He had a long collaboration with Teatro alla Scala in Milan, creating costume, set design and advertising material for multiple opera productions. He was also a major contributor towards the development of the seaside resort Milano Marittima.
Alessandro Mazzucotelli was an Italian craftsman, particularly known as a master ironworker and decorator. A specialist in wrought iron, Mazzucotelli linked his fame to the decorations of the works of the major exponents of Art Nouveau in Italy and abroad.
Art Nouveau in Milan indicates the spread of such artistic style in the city of Milan between the early years of the 20th century and the outbreak of the First World War. In the Lombard capital, art nouveau, called StileLiberty in Italian, found—thanks to its close relationship with the rampant industrial bourgeoisie of the time—a fertile ground for its rapid development, during which it oscillated between the influences of French Art Nouveau, German Jugendstil and eclecticism.
