Milan
Architecture

The architectural and artistic presence in Milan represents one of the attractions of the Lombard capital. Milan has been among the most important Italian centers in the history of architecture, has made important contributions to the development of art history, and has been the cradle of a number of modern art movements.

There are only few remains of the ancient Roman city, notably the well-preserved Colonne di San Lorenzo. During the second half of the 4th century, Saint Ambrose, as bishop of Milan, had a strong influence on the layout of the city, reshaping the centre (although the cathedral and baptistery built in Roman times are now lost) and building the great basilicas at the city gates: Sant'Ambrogio, San Nazaro in Brolo, San Simpliciano and Sant'Eustorgio, which still stand, refurbished over the centuries, as some of the finest and most important churches in Milan. Milan's Cathedral, built between 1386 and 1877, is the largest church in the Italian Republic—the larger St. Peter's Basilica is in the State of Vatican City, a sovereign state—and the third largest in the world, as well as the most important example of Gothic architecture in Italy. The gilt bronze statue of the Virgin Mary, placed in 1774 on the highest pinnacle of the Duomo, soon became one of the most enduring symbols of Milan.

In the 15th century, when the Sforza ruled the city, an old Viscontean fortress was enlarged and embellished to become the Castello Sforzesco, the seat of an elegant Renaissance court surrounded by a walled hunting park. Notable architects involved in the project included the Florentine Filarete, who was commissioned to build the high central entrance tower, and the military specialist Bartolomeo Gadio. The alliance between Francesco Sforza and Florence's Cosimo de' Medici bore to Milan Tuscan models of Renaissance architecture, apparent in the Ospedale Maggiore and Bramante's work in the city, which includes Santa Maria presso San Satiro (a reconstruction of a small 9th-century church), the tribune of Santa Maria delle Grazie and three cloisters for Sant'Ambrogio. The Counter-Reformation in the 16th to 17th centuries was also the period of Spanish domination and was marked by two powerful figures: Saint Charles Borromeo and his cousin, Cardinal Federico Borromeo. Not only did they impose themselves as moral guides to the people of Milan, but they also gave a great impulse to culture, with the creation of the Biblioteca Ambrosiana, in a building designed by Francesco Maria Richini, and the nearby Pinacoteca Ambrosiana. Many notable churches and Baroque mansions were built in the city during this period by the architects, Pellegrino Tibaldi, Galeazzo Alessi and Richini himself.

Empress Maria Theresa of Austria was responsible for the significant renovations carried out in Milan during the 18th century. This urban and artistic renewal included the establishment of Teatro alla Scala, inaugurated in 1778, and the renovation of the Royal Palace. The late 1700s Palazzo Belgioioso by Giuseppe Piermarini and Royal Villa of Milan by Leopoldo Pollack, later the official residence of Austrian viceroys, are often regarded among the best examples of Neoclassical architecture in Lombardy. The Napoleonic rule of the city in 1805–1814, having established Milan as the capital of a satellite Kingdom of Italy, took steps to reshape it accordingly to its new status, with the construction of large boulevards, new squares (Porta Ticinese by Luigi Cagnola and Foro Bonaparte by Giovanni Antonio Antolini) and cultural institutions (Art Gallery and the Academy of Fine Arts). The massive Arch of Peace, situated at the bottom of Corso Sempione, is often compared to the Arc de Triomphe in Paris. In the second half of the 19th century, Milan quickly became the main industrial centre of the new Italian nation, drawing inspiration from the great European capitals that were hubs of the Second Industrial Revolution. The great Galleria Vittorio Emanuele II, realised by Giuseppe Mengoni between 1865 and 1877 to celebrate Vittorio Emanuele II, is a covered passage with a glass and cast iron roof, inspired by the Burlington Arcade in London. Several other arcades such as the Galleria del Corso, built between 1923 and 1931, complement it. Another late-19th-century eclectic monument in the city is the Cimitero Monumentale graveyard, built in a Neo-Romanesque style between 1863 and 1866.

The tumultuous period of early 20th century brought several, radical innovations in Milanese architecture. Art Nouveau, also known as Liberty in Italy, is recognisable in Palazzo Castiglioni, built by architect Giuseppe Sommaruga between 1901 and 1903. Other examples include Hotel Corso, Casa Guazzoni with its wrought iron and staircase, and Berri-Meregalli house, the latter built in a traditional Milanese Art Nouveau style combined with elements of neo-Romanesque and Gothic revival architecture, regarded as one of the last such types of architecture in the city. A new, more eclectic form of architecture can be seen in buildings such as Castello Cova, built the 1910s in a distinctly neo-medieval style, evoking the architectural trends of the past. An important example of Art Deco, which blended such styles with Fascist architecture, is the huge Central railway station inaugurated in 1931.

The post-World War II period saw rapid reconstruction and fast economic growth, accompanied by a nearly two-fold increase in population. In the 1950s and 1960s, a strong demand for new residential and commercial areas drove to extreme urban expansion, that has produced some of the major milestones in the city's architectural history, including Gio Ponti 's Pirelli Tower (1956–60), Velasca Tower (1956–58), and the creation of brand new residential satellite towns, as well as huge amounts of low-quality public housings. In recent years, de-industrialization, urban decay and gentrification led to a vast urban renewal of former industrial areas, that have been transformed into modern residential and financial districts, notably Porta Nuova in downtown Milan and FieraMilano in the suburb of Rho. In addition, the old exhibition area is being completely reshaped according to the Citylife regeneration project, featuring residencial areas, museums, an urban park and three skyscrapers designed by international architects, and after whom they are named: the 202-metre (663-foot) Isozaki Arata —when completed, the tallest building in Italy, the twisted Hadid Tower, and the curved Libeskind Tower.

Two business districts dominate Milan's skyline: Porta Nuova in the north-east (boroughs No. 9 and 2) and CityLife (borough No. 8) in the north-west part of the commune. The tallest buildings include the Unicredit Tower at 231 m (though only 162 m without the spire), and the 209 m Allianz Tower, a 50-story tower.
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