This dissertation focuses on the study of the projects of Arrigo Arrighetti, an architect who devoted forty years of his career to the design of numerous architectures in the urban fabric of Milan. A civil servant for the Municipality, today, one hundred years after his birth, he remains a silent presence in the sphere of the Milanese architecture, often being remembered only for a few projects, including the Church of San Giovanni Bono and the Solari Swimming Pool, thus leaving the many projects born of his fist to be clearly visible in the city without ever gaining that firmly deserved recognition. His 'mission' was always to serve society by providing workable architecture in relation to the problems that Milan was facing, never prioritizing the placement of a recognizable element that celebrated his project, but always working with the utmost care and elegance, in a kind of 'quality anonymity'. This thesis, therefore, aims to show Arrighetti's entire design legacy in all its complexity, ensuring that the architect can emerge from this anonymity with the aim of being remembered for his great design quality, through historical, morphological and typological studies. Such research, often approached through a deconstruction by themes, allowed recurring architectural themes to be found, permitting to aknowledge him as an eclectic designer, uninterruptedly searching for new typological, formal and technological solutions. This quest has allowed him to rise to the point of generating volumetries and architectural concepts that are decidedly complex, mastering all the materials of architecture in such a way to generate elegant architectures, on the surface often simple and linear, highly articulated and thoroughly studied with deep passion. In the figure of Arrighetti it is in fact possible to recognize a designer endowed with a design marked by great freedom, who often returns to concepts already addressed to distort and complicate them, thus making himself, in a totally unexpected way and opposite to the conclusions of a first superficial analysis, a true unruly virtuoso.
Questo lavoro di tesi è incentrato sullo studio dei progetti di Arrigo Arrighetti, architetto che ha dedicato quaranta anni della sua carriera al disegno di numerose architetture nel tessuto urbano di Milano. Funzionario dell’ufficio tecnico, oggi, cento anni dopo la sua nascita, rimane una presenza silente nell’ambito delle architetture milanesi, spesso essendo ricordato solo per alcuni progetti, tra cui la Chiesa di San Giovanni Bono e la Piscina Solari, lasciando così che i molti progetti nati dal suo pugno siano ben visibili nella città senza ottenere mai quel riconoscimento fermamente meritato. La sua ‘missione’ è sempre stata quella di servire la società fornendo un'architettura praticabile in relazione ai problemi che Milano stava affrontando, senza mai dare la priorità al posizionamento di un elemento riconoscibile che celebrasse il suo progetto, ma lavorando sempre con la massima cura ed eleganza, in una sorta di 'anonimato di qualità'. Questa tesi si propone dunque di mostrare l’intero lascito progettuale di Arrighetti in tutta la sua complessità, facendo sì che l’architetto possa uscire da questa anonimia con il fine di essere ricordato per la sua grande qualità progettuale, attraverso studi di tipo storico, morfologico e tipologico. Tale ricerca, affrontata spesso per mezzo di una decostruzione per temi, ha permesso di riscontrare tematiche architettoniche ricorrenti che hanno consentito di riscontrare in Arrighetti un progettista eclettico, ininterrottamente alla ricerca di nuove soluzioni tipologiche, formali e tecnologiche. Una ricerca che gli ha permesso di elevarsi fino a generare volumetrie e concetti architettonici decisamente complessi, padroneggiando tutti i materiali dell’architettura in modo da generare eleganti architetture, all’apparenza spesso semplici e lineari, molto articolate e approfonditamente studiate con profonda passione. Nella figura di Arrighetti è infatti possibile riconoscere un progettista dotato di un disegno contraddistinto da grande libertà che spesso torna su concetti già affrontati per distorcerli e complicarli, rendendosi così, in modo del tutto inaspettato e opposto alle conclusioni di una prima analisi superficiale, un vero virtuoso sregolato.
Arrigo Arrighetti Architect
Lonati, Greta
2021/2022
Abstract
This dissertation focuses on the study of the projects of Arrigo Arrighetti, an architect who devoted forty years of his career to the design of numerous architectures in the urban fabric of Milan. A civil servant for the Municipality, today, one hundred years after his birth, he remains a silent presence in the sphere of the Milanese architecture, often being remembered only for a few projects, including the Church of San Giovanni Bono and the Solari Swimming Pool, thus leaving the many projects born of his fist to be clearly visible in the city without ever gaining that firmly deserved recognition. His 'mission' was always to serve society by providing workable architecture in relation to the problems that Milan was facing, never prioritizing the placement of a recognizable element that celebrated his project, but always working with the utmost care and elegance, in a kind of 'quality anonymity'. This thesis, therefore, aims to show Arrighetti's entire design legacy in all its complexity, ensuring that the architect can emerge from this anonymity with the aim of being remembered for his great design quality, through historical, morphological and typological studies. Such research, often approached through a deconstruction by themes, allowed recurring architectural themes to be found, permitting to aknowledge him as an eclectic designer, uninterruptedly searching for new typological, formal and technological solutions. This quest has allowed him to rise to the point of generating volumetries and architectural concepts that are decidedly complex, mastering all the materials of architecture in such a way to generate elegant architectures, on the surface often simple and linear, highly articulated and thoroughly studied with deep passion. In the figure of Arrighetti it is in fact possible to recognize a designer endowed with a design marked by great freedom, who often returns to concepts already addressed to distort and complicate them, thus making himself, in a totally unexpected way and opposite to the conclusions of a first superficial analysis, a true unruly virtuoso.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/198689