Torre Velasca, Milan, 2016

One thought on “Torre Velasca, Milan, 2016”

Yair Varon says:

October 3, 2018 at 10:12 am

The first time I saw Torre Velasca was on the cover of Domus magazine (n.811 Domus Extra, January 1999). I remember the impact the image had on me. It confused me. I didn’t know if it was a radical photomontage or a surreal-futuristic architectural fantasy. Today I Know that the strong emotion I felt in front of the image led me, some years later, to personally search for the building, to study its history and to document it. But until today I can’t say with certainty what it is in Torre Velasca that makes me obsessively seek after it. Perhaps the fact the though it is part of the city’s skyline, and a world famous architectural icon, it somehow rests a secret to be discovered: from a distance the building emerges, next to the Duomo, it disappears approaching the city’s Center, only to reappear in a completely different perspective when arriving at the open space at its feet.

I certainly did not expect to find Torre Velasca in Dana Arieli’s Phantoms Project. I never considered it to be a “Fascist opera” even though it follows, until a certain point, the principals of the Rationalist architecture which had a strong connection with the Italian Fascist government.
However, in the 1950’s Torre Velasca presented a different architectural approach. BBPR architects had succeeded to put together structural and linguistic clarity of Modernism with the memory of the Spanish tradition in Corso di Porta Romana, as well with medieval architecture, designing the upper part of the building as a watchtower.

I wonder what provoked the photographer to choose this image. I can only suggest that maybe it continues her dialogue with the context of the city with its provocative, stylish, symbolism.

Last time I visited Torre Velasca was a few months ago. I found the building in semi-abandoned condition, with signs of neglect. The last time this architectural icon drew public attention was in 2015 during the Expo thanks to the exhibition “Opening Velasca” showing a project for its possible future redevelopment. I guess it didn’t have such a strong impact.

Sadly I accept Dana Arieli’s title “Phantom” for Torre Velasca.
I can feel it, even miles away.

Mazkeret Batya, Israel 03.10.2018

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