© Stefano Graziani

斯特凡诺·格拉齐亚尼

架构师提供的文本描述。记忆之屋是一座房子，是一座集体住宅，在这里，米兰市民希望为他们想要保存的记忆找到保护。没有人住在这个房子里，在这种情况下，“房子”这个词被理解为一个信封，一个受保护的空间，或者是一个在大都市流动中形成记忆的避难所。因此，房子变成了一个被保护和展示的物体，一个被封套包围的宝库，既保护又暴露它的内容。

Text description provided by the architects. The House of Memory is a house, a collective house in which Milanese citizens hope to find protection for the memories they want to preserve. Nobody inhabits this house, and in this case the word house is understood as an envelope, a protected space, or a shelter that crystallizes memory within the flow of the metropolis. So the house becomes an object to be both protected and exhibited, a treasury to be surrounded with an envelope that both defends and exposes its content.

 © Stefano Graziani

斯特凡诺·格拉齐亚尼

记忆与记忆之屋之间的关系不是直接翻译的关系。当代米兰没有一个稳定的，完全共享的记忆，可以在没有进一步审讯的情况下被刻在石头上。与其将“记忆之家”视为共享记忆的表达方式，我们更倾向于将其视为讨论城市集体记忆中共存的不同元素的工具。

The relationship between memory and the House of Memory is not one of direct translation. Contemporary Milan does not possess a stable, entirely shared memory, ready to be carved in stone without further interrogation. Rather than considering the House of Memory as an expression of shared memory, we preferred considering it as a tool for discussing the different elements that coexist within the collective memory of the city.

记忆之家试图为各种形形色色的记忆提供一个庇护所，这些记忆不仅交织在当代社会中，也存在于个人的头脑中。因此，坚定、长期的记忆与我们自己短暂而微妙的记忆共存；公共记忆与私人记忆并驾齐驱；显性记忆与无意识记忆是分不开的。不同类型的记忆在一个可以与不同听众建立对话而又不放弃提供统一表示的可能性的对象中是一致的。因此，一个永久的舞台集出现在一个不断变化的景物旁边，从而产生了一台既复杂又单一的记忆机器，既缓慢又变异，同时具有多重性和不可移动性。

The House of Memory tries to provide a shelter for the various and varied memories that are woven not only into contemporary society, but also in the minds of individuals. Firm, long-term memories thus coexist inside all of us with our own fleeting, delicate memories; public memories go hand in hand with private ones; explicit memories cannot be separated from unconscious ones. Different styles of memory coincide in an object that is ready to establish a dialogue with different audiences without renouncing the possibility of providing a unified representation. Thus a permanent stage set appears alongside a changing scenery, thereby producing a machine of memory that is both complex and univocal, both slow and mutating, and both multiple and immovable.

 © Stefano Graziani

斯特凡诺·格拉齐亚尼

“记忆之屋”被描绘米兰近代史的大型图片所覆盖。这座新建筑的外壳被理解为一种当代的聚光体：这些图像集试图以极大的即时性暗示米兰集体记忆的复杂性和理想的统一性。装饰的外观，不仅仅是定义共享内存，还暴露了这种共享的需要。因此，在记忆之家的信封上收集的图像同时也是显着地具有里程碑意义和故意脆弱的。事实上，考虑到它们的结构，这些图像从远处看上去更清晰，然后靠得更近就失去了清晰性。它们溶解成一种漂浮的尘埃，仿佛他们最终无法确定同样的真相，而他们却如此自豪地接受了这一事实。

The House of Memory is entirely covered with large images depicting Milan’s recent history. The shell of the new building is understood as a contemporary polyptych: this collection of images tries to suggest with great immediacy both the complexity and the ideal unity of Milan’s collective memory. The decorated façade, more than defining a shared memory, exposes the need for such sharing. For this reason the images collected on the envelope of the House of Memory are at the same time explicitly monumental and deliberately fragile. In fact, given their construction, the images appear more clearly from afar and then they lose clarity by coming closer. They dissolve into a sort of floating dust, as if they would finally be unsure about the very same truth that they so proudly accepted to expose.

 © Giulio Boem

朱利奥·博埃姆

这个由科学委员会精心定义的肖像计划，是由19幅不知名的米兰公民的肖像组成的，这些肖像表明战后活跃在这座城市的人口的多样性，以及八幅历史图像，它们记录了这个城市近代史上的八个时刻，比如被驱逐到集中营，从纳粹法西斯主义中解放出来，1969年12月12日丰塔纳广场爆炸案。这种彩色砖瓦的外部装饰与诸如Ospedale Maggiore和Santa Maria delle Grazie等建筑的朗巴德传统有着直接的联系。

The iconographic program, carefully defined by a Scientific Committee, is made of nineteen portraits of anonymous Milanese citizens, which suggest the multiplicity of the populations that animated the city in the post-war period, and of eight historical images which record eight moments in the recent history of the city such as the deportation to concentration camps, the Liberation from Nazi-Fascism, the piazza Fontana bombing of 12 December 1969. This exterior decoration in polychrome brickwork establishes a direct relation with the Lombard tradition of buildings such as the Ospedale Maggiore and Santa Maria delle Grazie.

 © Stefano Graziani

斯特凡诺·格拉齐亚尼

记忆之屋的立面完全是用砖块实现的，它结合了一个框架，这个框架是由掠夺者和石柱构成的，带有完全由图像占据的大凹区：19个方格和肖像(4.6×4.6米)和8个具有历史场景的大矩形(高度9.6米，宽度可变)。彩色砖，在六种不同的颜色范围内，特别是生产到特定的尺寸(5.5 x 5.5 x 12厘米)由Sanmarco SRL。

The façades of the House of Memory are entirely realized in bricks and combine a frame made of pilasters and architraves in slight relief with large recessed fields entirely occupied by images: nineteen squares with portraits (4.6 x 4.6m) and eight large rectangles with historical scenes (9.6m in height and with variable width). The polychrome bricks, in a range of six different colours, have been especially produced to specific dimensions (5.5 x 5.5 x 12cm) by SanMarco SRL.

 © Stefano Graziani

斯特凡诺·格拉齐亚尼

展示在外观上的图像是基于档案照片的一系列精心设计的产物。这个过程的结果是一个矩阵，数字从1到6(对应于不同颜色的砖块)。该矩阵后来被打印和应用在现场(1：1)，以便准确地指导砖的配置。记忆之屋是一座非常简单的建筑：它是一个长20米，长35米，高17.5m的矩形盒子。

The images displayed on the façade are the product of a series of elaborations based on archive photographs. The result of this process was a matrix with numbers from 1 to 6 (corresponding to the different colours of the bricks). The matrix has been later printed and applied onsite (in scale 1:1) in order to precisely guide the disposition of the bricks. The House of Memory is a very simple building: it is a box with a rectangular base of 20m by 35m and 17.5m high.

 Ground Floor Plan

这座建筑被分成三个部分，通过一个完全开放的底层彼此连接起来。建筑物较短的两端有两层薄薄的建筑，包括档案馆(南)、卫生间和技术设施(北)和垂直循环。底层的空地由两根八角形柱细分为三部分。这一区域的三分之一达到建筑物的全部高度，包括一个螺旋楼梯。其余空间由三层楼的展览空间和办公室占据。这个内部组织-在三层办公室、展览空间和五层档案馆之间插入了巨大的黄色楼梯-给大楼带来了更大的规模。档案馆的高度和楼梯的巨大空间形成了鲜明的对比，使得办公室和展览空间变得宽敞；游客感受到更广阔、更大方的氛围。

The building is divided into three parts that are connected to one another by an entirely open ground floor. Two thin layers along the building’s shorter ends house the archive (South), the restrooms and technical installations (North), and the vertical circulation. The open space at the ground floor is subdivided in three parts by two octagonal columns. One third of this area reaches the building’s full height and includes a spiral staircase. The rest is occupied by exhibition spaces and offices disposed on three levels. This internal organization – with the enormous, yellow staircase inserted between the three levels of offices and exhibition spaces and the five levels of archive – introduces a greater scale into the building. The contrast between the tight levels of the archive and the colossal dimension the staircase allows the office and exhibition spaces to acquire spaciousness; the visitor perceives a vaster, more generous atmosphere.

 © Stefano Graziani

斯特凡诺·格拉齐亚尼

黄色楼梯不仅是建筑物的主要分布单元，也是在参观者和收藏者之间建立联系的装置。鉴于档案的珍贵性不允许参观者直接查阅文件，公民与收藏之间的关系是通过楼梯产生的旋转运动来建立的。参观者一再靠近藏品，然后离开藏品，从而体验到一系列复杂的文件视图，以及在文档后面的公园外部景观。

The yellow staircase is not only the building’s main distributive element, but it is also the device that establishes a relation among the visitors and the collection. Given that the preciousness of the archive does not allow the visitors to directly access to the documents, the relationship between the citizens and the collection is established through the rotating movement created by the staircase. The visitor repeatedly comes closer to and then moves away from the collection, thereby experiencing a complex sequence of views of the documents and, behind them, of the park outside.

记忆之屋是一座非常紧凑的建筑。这种形状大大减少了建筑和维护费用，限制了外部表面相对于建筑物整体体积的数量。由于整个建筑物(未加工混凝土柱、裸露装置)所选择的建设性解决方案的紧凑性和极端的简单性，得以保持极低的建筑成本(约1400欧元/平方米)。

The House of Memory is an extremely compact building. This shape involves a significant reduction of the construction and maintenance costs, limiting the amount of external surfaces with respect to the overall volume of the building. The compactness and the extreme simplicity of the constructive solutions chosen throughout the building (raw concrete pillars, exposed installations) allowed maintaining extremely low construction costs (around 1400 €/sqm).

 © Stefano Graziani

斯特凡诺·格拉齐亚尼

Architects baukuh

Location Via Federico Confalonieri, 14, 20124 Milano, Italy

Category Library

Area 2500.0 sqm

Project Year 2015

Photographs Stefano Graziani, Giulio Boem