In the world of architecture and design, few names carry the same weight and intrigue as Andrea Branzi. His work, characterized by a unique blend of the avant-garde and the everyday, has left an indelible mark on the contemporary landscape. Now, in the heart of Milan, the Triennale Milano is paying homage to Branzi's prolific career through the exhibition 'Continuous Present'. Curated by the renowned architect Toyo Ito, this exhibition offers a fascinating glimpse into Branzi's creative universe, revealing a designer who was always more interested in asking 'what is design?' than in producing objects.
Ito, a friend and collaborator of Branzi, has selected eight of his favorite projects from the exhibition, each one a testament to Branzi's innovative spirit and his ability to challenge conventional thinking. These projects, ranging from the early 1960s to the 2010s, showcase Branzi's evolving approach to design, architecture, and urbanism, and his enduring fascination with the 'continuous present'.
One of the standout pieces is 'Self-portrait, 1968', which marks a turning point in Branzi's career. This work, a self-portrait, signals the beginning of a practice rooted less in making than in questioning. It reflects a designer more interested in asking 'what is design?' than in producing objects, and it sets the stage for Branzi's later exploration of design as a critical and philosophical act. This piece, in my opinion, is a powerful statement of Branzi's early shift away from the rigidities of modernist design and his embrace of a more fluid, open-ended approach.
Another standout is 'No-Stop City, 1969-72', Branzi's most radical critique of the contemporary metropolis. This project, developed through drawings and models, proposes an urban condition defined by infinite, homogeneous space. In this vision, the city requires no architecture, only the infrastructures of production and consumption. This work, in my view, is a bold statement about the potential of urban design to transcend traditional boundaries and embrace a more fluid, ever-changing reality. It raises a deeper question about the role of architecture in shaping our understanding of the city and our place within it.
'Animali Vestiti', from 1973, continues Branzi's exploration of animism and hybridization, expanding his ideas beyond objects into forms that engage directly with the body. These pieces, like much of Branzi's work, resist clear categorisation, existing between design, art, and anthropology. This project, in my opinion, is a powerful statement about the potential of design to transcend functional boundaries and engage with the human experience in a more profound and holistic way.
'Animali Domestici', from 1985, marks a shift in Branzi's focus from the city to a more primitive and symbolic understanding of living. Using raw, unprocessed wood, the project reintroduces materials excluded by modernity and proposes a domestic environment where humans coexist with natural and technological elements. This work, in my view, is a powerful statement about the potential of design to reconnect us with our natural roots and to create a more sustainable, harmonious relationship with the world around us.
'Forum for Music, Dance and Visual Culture, Ghent, 2004' embodies Branzi's interest in architecture as an experiential and sensorial condition rather than a fixed form. This project, aligned with his broader thinking on cities as fluid and continuously evolving, explores how space can support interaction, perception, and cultural exchange without relying on rigid structures or hierarchies. This work, in my opinion, is a powerful statement about the potential of architecture to create spaces that are not just functional but also immersive and transformative.
'Open Enclosures, Ellipse + Gazebo, 2008' presents architecture as a porous and non-functional system. These small-scale environments, constructed from natural and industrial materials, suggest a form of 'useless but hospitable' architecture – an alternative to the rigid, functionalist spaces of the modern city. This project, in my view, is a powerful statement about the potential of architecture to create spaces that are not just functional but also inviting and welcoming.
'Grande Legni', from 2009, reflects Branzi's ongoing exploration of objects as carriers of ideas rather than purely functional elements. Positioned between design and art, these works demonstrate his broader approach: creating objects that operate as critical statements, challenging the conventions of use, value, and meaning within design culture. This project, in my opinion, is a powerful statement about the potential of design to transcend functional boundaries and engage with the human experience in a more profound and holistic way.
Finally, '10 modesti consigli per una nuova Carta di Atene, 2010' radically rethinks the principles of modernist urbanism, proposing a city without rigid zoning, boundaries, or hierarchies. Branzi imagines urban space as a condition of 'cosmic hospitality,' where humans, animals, technologies, and environments coexist within a shared system, and where distinctions between public and private dissolve. This project, in my view, is a powerful statement about the potential of urban design to create a more inclusive, interconnected, and sustainable future.
In conclusion, the 'Continuous Present' exhibition is a must-see for anyone interested in the intersection of architecture, design, and urbanism. Through these eight projects, Branzi invites us to rethink our relationship with the built environment and to embrace a more fluid, open-ended approach to design. In my opinion, this exhibition is a powerful reminder of the enduring relevance of Branzi's work and his enduring impact on the world of design.
