This 31-storeys high tower became, by the year of its construction, the tallest building in Milan (116 m), breaking the rule not to pass the height of the Madonnina statue standing on top of the Duomo. Conceived as a self-sufficient complex, the building showcases both the spirit of modernity characterizing the Postwar years, and the dwelling philosophies that such spirit inspired.

The 19 metres tall mass is positioned perpendicularly to Corso Sempione, creating at the same time an urban scenery gate and a chance for all living spaces to look southwards, towards the center of Milan. An icon of the city in its Postwar years, this residential building features a precious research in proportions and material for interior, exterior and most of all intermediate spaces (the lobby and the porch).

Designed by Gio Ponti in 1939, built after World War II, this building is another powerful symbol of modernity, his program emphasized by elements such as the 100 meters antenna, or the separation of studios from the main building to increase acoustic insulation. Exposed elevators visible from behind the great interior glass wall, or the furniture designed by Ponti himself, complete this peculiar experience of Modern architecture.

Diamond tower project develops a reflection on sustainability and respect of human needs and workspace. This 28-storeys building, hosting up to 2100 workstations on a 30000 square meters surface, has obtained the LEED GOLD certification by the Green Building Council.

The former Center for Assistance to African Countries is currently in function as a student housing complex. Featuring several references to student housing by James Stirling and Alvar Aalto in its spatial layout, the structure is organized as a structuralist cluster of modular units extending in a 30000 sqm park. 

After years as a car dealer’s showroom and a garage, the former Cinema Istria, designed by Mario Cavallè in the 40s, has come back to the origins of its architectural concept, renovated by Bastard to host its showroom, shop, offices and co-working spaces. The “Bastard Bowl”, a vast heaven for skaters, is integrated with the office spaces that reuse the former cinema gallery.

The Gratosoglio settlement was conceived and realized betweeen the 60s and the 70s to create a self-sufficient system, completely separated from the city: Torri Bianche are the landmark for this settlements, springing out of a solid basement hosting community services and activities.

The first Campari production plant, active in Sesto San Giovanni from 1904 to 2005, has been transformed in the New Campari Group HQ and company museum. The historical building — currently hosting the museum — is integrated in the new structures, showing some signature features of Botta’s practice, such as the huge terracotta-clad volumes with linear glass voids, integrated by bas-reliefs based on Frotunato Depero’s drawings.

This sacred spaces is powerfully animated by its three architectural components: the dark grey walls, the stained glass ribbon windows and the exposed concrete structure a linear sequence of arches sculpturally merging with the pillars and the secondary arches to define a three-aisles layout.