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Pietro Lingeri
* Tremezzo, Italy, 25 January 1894
+ Tremezzo, Italy, 15 May 1968
nationality: italian
BIOGRAPHICAL NOTES
 
 
Born in Bolvedro di Tremezzo (Como) in 1894, Pietro Lingeri began his artistic career as a stucco artist in the eighteenth-century Villa Sola Cabiati, where he was noted for his talent. He moved to Milan in 1906 and the following year he enrolled at the Castello Sforzesco Scuola Superiore d’Arte Applicata all’Industria while attending the Scuola degli Artefici course as a “decorative sculptor” at the Accademia di Belle Arti di Brera. After taking part in the First World War, he attended the special Architecture course at Brera. In 1926 he earned his diploma as an architectural drawing teacher and opened his studio in Corso Vittorio Emanuele.

In 1930 he became a member of the Architects association of Milan. A series of significant Milanese projects by Lingeri date to the 1920s and early 1930s (the Al Principe di Galles shop, the Biancardi beauty salon, the Manin and Europa hotels, the Galleria del Milione, and so on), while he continued to work on Lake Como, where he designed war memorials, funeral shrines and buildings. In 1930 he became a member of the Italian group of the International Congresses of Modern Architecture (CIAM) and of the Italian Movement for Rational Architecture (MIAR), and in the same year he won the Triennale di Monza award with his changing rooms for the Sartoria Moderna. With the Como Group he designed the Lake House for an Artist in 1933, which won him the Gran Premio per l’Architettura. Also in 1933 he was among the founders of Quadrante, the magazine directed by Bardi and Bontempelli advocating abstract art and rationalist architecture, and also of the periodical Valori Primordiali in 1937. In the 1930s he and Terragni designed four houses in Milan (Casa Rustici, Casa Toninello, Casa Lavezzari, and Casa Ghiringhelli) and, on his own, Casa Rustici- Comolli. In 1932, Rino Valdameri, the president of the Accademia di Brera, entrusted him with the project for the houses for artists on Comacina Island and, in 1938, with the Danteum project, a temple celebrating the poet Dante that was to be erected on the Via dell’Impero in Rome, which he worked on with Terragni. From 1935 to 1951 he worked on several versions for the new Royal Brera Academy building with Terragni (for the first versions) and then with Figini and Pollini.

In 1943 his Milanese studio was destroyed by the bombings but he continued working. After the war he participated in the reconstruction of Milan. In 1945 he became a member of the general city planning commission. In 1946 he founded the Movement for Architectural Studies (MSA) with Magistretti, Albini, Bottoni and others. In the post-war period, Lingeri designed a long series of works in Milan that helped define the architecture of the city in the 1950s and 1960s: from the “self-sufficient” districts (the Vialba I, Comasina and Forlanini Nuovo districts in Milan and others in Como, Biella and Abbiategrasso) and apartment buildings (in Via Legnano, Piazza Buonarroti, Corso Sempione, Via Melchiorre Gioia, Via Lomellina, Piazzale Dateo, Piazza Durante, Viale Umbria, etc.), through to office buildings (Palazzo De Angeli Frua in Via Paleocapa, “La Centrale” in Piazzetta Bossi, the Cassa di Soccorso ATM building, etc.), as well shops, villas, and furniture.

In 1964 he was nominated Accademico di San Luca, and in 1967 he received the National Architecture Award from the President of the Republic. He died in Tremezzo in 1968.
BUILDINGS
 
1932 - 1936
Casa Rustici
Italy [Italia] » Milan [Milano]
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BIBLIOGRAPHY
 
WRITINGS
ABOUT THE ARCHITECT
Gabriele Neri (ed.), Pietro Lingeri. Astrazione e costruzione / Abstraction and Construction, ElectaGabriele Neri, Pietro Lingeri, Astrazione e costruzione, Abstraction and Construction, Electa, Milano 2021

...non è uno di quei razionalisti che cincischiano frasi e disegni in guanti gialli, ma un tipo che sta sui ponti, che partecipa al suo lavoro con quello zelo proprio di chi sente l’architettura come fatto squisitamente plastico
(Pietro Maria Bardi)

Dopo Enzo Mari, Vico Magistretti e Carlo Aymonino, Pietro Lingeri (1894-1968) è il nuovo protagonista della proposta espositiva, promossa da Triennale Milano, dedicata ai grandi Maestri dell’Architettura del Novecento italiano.

Il volume edito da Electa accompagna la mostra Pietro Lingeri. Astrazione e costruzione (Triennale Milano, 8 ottobre – 21 novembre 2021), a cura di Gabriele Neri, con l’allestimento di Onsitestudio, sviluppata nell’ambito di un progetto di digitalizzazione e valorizzazione dei materiali dell’Archivio Pietro Lingeri e frutto di una collaborazione con l’Archivio stesso.

Il catalogo celebra una delle personalità più significative e autorevoli del razionalismo italiano che, insieme a Giuseppe Terragni, ha guidato la ricostruzione di Milano nel secondo dopoguerra.
L’opera di Lingeri è analizzata nel libro con scritti di architetti, storici e critici dell’architettura che promuovono una lettura rigorosa, stratificata e innovativa del suo lavoro, restituendo il contesto storico in cui era attivo, la sua poetica e ricerca, le collaborazioni artistiche e architettoniche così come l’influenza sul disegno urbano.

Il volume è articolato secondo una scansione tematica che analizza molteplici aspetti della progettualità di Lingeri, come la capacità di accogliere e reinterpretare stimoli diversi, giungendo a risultati personali e in anticipo sui tempi, nonché l’attenzione e la curiosità verso l’universo dell’arredamento.
Ampio spazio è poi dedicato alla produzione relativa al secondo dopoguerra, sottolineando l’idea di una continuità metodologica rispetto alla lezione del Movimento Moderno, nonché la ricorrenza della dimensione del cantiere e del ponteggio che hanno rappresentato per lui un modus operandi costante.

Nel volume confluisce un’ampia selezione di schizzi, disegni, modelli, lettere e materiali d’archivio spesso inediti, così come fotografie scattate ad hoc da Filippo Romano che reinterpretano in chiave contemporanea le forme architettoniche di alcuni degli edifici più iconici, tra cui Casa per artisti, isola Comacina (Como), 1933-1940, Casa Ghiringhelli, Milano, 1933-1935, Casa Cattaneo-Alchieri, Como, 1934-1936.
Chiara Baglione, Elisabetta Susani (ed.), Pietro Lingeri, Electa, Milano 2004
review: Claudio Camponagara, "Razionalismo tra Como e Milano / Rationalism between Como and Milan", L'architettura. Cronache e storia 594, aprile/april 2005 [Architettura da viaggio / Travel architecture], "Selelibri/Bookdigest" p. 261

review: Sara Protasoni, "L'opera di Lingeri / The work of Lingeri", Domus 881, maggio/may 2005, "Libri/Books" pp. 116-117
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EXHIBITIONS
 
 
Pietro Lingeri: Astrazione e costruzione / Abstraction and Construction, Milano (Italy), Triennale Milano, 7 october / 21 november 2021

Pietro Lingeri, La Centrale, Milano, Astrazione e costruzione, Triennale MilanoTriennale Milano presets Pietro Lingeri: Abstraction and Construction, a special exhibition devoted to the architect Pietro Lingeri (1894-1968), curated by Gabriele Neri and with an installation design by Onsitestudio. The event is the outcome of a partnership with the Pietro Lingeri Archive and of a project to digitise and promote the materials the Archive contains.

Pietro Lingeri, Via Melchiorre Gioia 28, Milano, Astrazione e costruzione, Triennale MilanoAs Stefano Boeri, president of Triennale Milano, explains: “Devoting an exhibition to Pietro Lingeri means paying the attention that is due to a key figure in the world of design, while also offering new interpretations and analyses. It is part of a project to show and promote the great masters, which Triennale Milano has been working on for some years now. Another important aspect of the exhibition is the fruitful partnership with the Pietro Lingeri Archive. Our institution intends to confirm its role as a repository of the archival heritage currently located across all Italy, with the aim of increasingly acting as a point of reference and an active and proactive centre devoted to Italian design and architecture.”

Elena Lingeri, the head of the Archive, said: “I am really happy that my grandfather’s works, which have received so many awards at the Triennale, are now back at Triennale as part of the digitisation project. This exciting learning process makes it possible to expand the use, horizons and cultural value of the Archive.”

The exhibition examines the work of Lingeri, one of the leading exponents of twentieth-century Italian architecture, who created some of the most important designs of Italian Rationalism in the 1930s as well as a long series of works in post-war Milan. In his work, he combined a historical perspective with a contemporary interpretation, highlighting the issues that his architectural works still raise today.

The exhibition thus brings together two levels of interpretation. The first – in the form of original sketches, drawings, photographs, models, letters and other materials, many never shown before, from the Pietro Lingeri Archive and other institutions – retraces the architect’s career, illustrating the historical context, his research into composition and construction, the relationship between modernity and tradition, his influence on the design of the city, his place in architectural debate in Italy, his sources of artistic inspiration and his many design partnerships, including those with Giuseppe Terragni, Luigi Figini, Gino Pollini, Cesare Cattaneo, Piero Bottoni, Mario Sironi, and Mario Radice. Now that the anniversary of Dante is being celebrated, prominent among the materials on display are the design plates and the original model for the Danteum, the shrine to the great poet designed by Lingeri and Terragni, which was never built but which was to have been next to the Colosseum. The exhibition gives particular emphasis to Lingeri’s work after the Second World War, which is being shown to the public for the first time in such a comprehensive manner, in order to provide an overview of his entire design career.

Pietro Lingeri, Accademia di Belle Arti, Milano, Astrazione e costruzione, Triennale MilanoThe second level of interpretation comes with a range of different contributions that look at Lingeri’s work from a contemporary perspective, bringing out the stratification that can be found in all architecture. These contributions include the photographs for the exhibition taken by Filippo Romano and Mattia Balsamini, who were called upon to examine respectively Lingeri’s buildings as they are now, and the model of the Danteum, which has rarely been shown to the public over the past eighty years. Artistic visions like those of Lisa Borgiani evoke original ways of reformulating Lingeri’s legacy, while projects by contemporary architects (including Alessandro Scandurra- Scandurra Studio Architettura, David Chipperfield Architects, Herzog & de Meuron and Onsitestudio) reflect on the reuse of his buildings and on the current relevance of the themes he explored.

The interaction between these two perspectives shows how each work is not some isolated episode, locked in the past, but rather the outcome of an incessant stratification of meanings, actors, means of representation, stories and interpretations, sometimes conflicting with each other, favouring a diachronic approach that can promote its complexity and prompt questions about the present and future of a Modernism that has many decades behind it.
Pietro Lingeri architetto della Tremezzina. L'isola degli artisti, Tremezzo (CO), Villa Carlotta, 10 september/31 october 2010
CREDITS
 
 
Text edit by Triennale Milano
 
 
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