Albert two-seat couch and armchair by Gigi Radice design/Minotti Historic Archive for Minotti. Coffee table Bisel model BIS01 by Patricia Urquiola for Glas Italia. On top, the marble vase Piotr by Martine Bedin for Up & Up from Compasso Gallery, and Bolide box by Valentina Cameranesi Sgroi for SEM. Vertigo screen from Draga & Aurel. Far-left foreground: the Etere vase in borosilicate glass by Valentina Cameranesi Sgroi on top of the Tondo table by Porada.
English

Underneath Milano

In 1964, when Milan’s subway trains were taken into service, citizens enjoyed exploring the subterranean bowels of the city, which was experiencing a phase of positivity, confidence in the future, and courage given by its recovery from wretched exertion. The story today is not much different. In fact, if you reread Dino Buzzati’s memorable report in Corriere della Sera, titled “Milanese thoroughbred gallops underground,” you can sense the excitement.
Recording the thoughts of a passenger descending into the subway from the east side of Piazza San Babila, he writes: “Here you are at last, blessed metro. God knows how many years we have been waiting for you, daydreaming of buried tunnels with speeding Jules Verne trains inside them, making Milan the first city of the world.” Over the years, Italy’s notorious wait for infrastructure has undergone a fortunate change of tide. We are currently preparing to inaugurate in December 2022 the fourth subway line (called M4) running from Linate, precisely to San Babila. It will connect the airport to the city centre in just 12 minutes, a unique achievement worldwide. By next year, the new line will already run part of the way, from Linate to the Forlanini railway station. This subway project is a work of refined engineering involving the City of Milan and the companies M4 SpA, Salini Impregilo and Astaldi.
Designed for sustainable mobility, it will be able to transport 86 million people per year, cutting traffic in the city by eliminating some 16 million vehicles and reducing carbon dioxide emissions by approximately 54 thousand tons per year. Like never before, transport infrastructure is proving to promote relations and provide opportunities to focus on the quality of our shared spaces. Now that the means of transit and the places where they interconnect are showing such aspiration, we can hope that design will strategically contribute operational functions rather than just stylistics, a cumbersome old drift that has hit the skids.

From left, the PS142 armchair by Eugenio Gerli for Tecno Spa. On the coffee table/stool Unus by Desalto, Murano glass-work by VeArt from Compasso Gallery, and leaning against it, the Ondamarmo print 2 shelf by Federica Elmo for Bloc Studios. Isola armchair by Claesson Koivisto Rune for Tacchini. Primula chair by George Sowden for Memphis. MM8 table by Guglielmo Poletti for Desalto, with on top the Wagon vase by Domitilla Harding for Nilufar Gallery and the Moon 25th Anniversary lamp by Slamp. Jylia chair from Armani/Casa.
Far left, the Vertigo screen from Draga & Aurel. Armada dining chair by Nipa Doshi & Jonathan Levien for Moroso. Tondo table by Essetipi for Porada. On top, the glass vase Blast 02 by Ermes Glass and a plexiglas vase by Shiro Kuramata from Nilufar Gallery. Gio Ponti 99.81 chandelier by Gio Ponti for Venini. Unus coffee table/stool by Desalto.
Le Bambole '07 sofa by Mario Bellini for B&B Italia, Stylos floor lamp by Achille Castiglioni for Flos, and the Xequer C rug by Martino Gamper for cc-tapis.
Twin coffee tables Bong by Giulio Cappellini for Cappellini. Julie armchair from Fendi Casa by Luxury Living Group. Plissé electric kettle by Michele De Lucchi for Alessi. Hanging lamp Coordinates model S3 by Michael Anastassiades for Flos.
Albert two-seat couch and armchair by Gigi Radice design/Minotti Historic Archive for Minotti. Coffee table Bisel model BIS01 by Patricia Urquiola for Glas Italia. On top, the marble vase Piotr by Martine Bedin for Up & Up from Compasso Gallery, and Bolide box by Valentina Cameranesi Sgroi for SEM. Vertigo screen from Draga & Aurel. Far-left foreground: the Etere vase in borosilicate glass by Valentina Cameranesi Sgroi on top of the Tondo table by Porada.
Feel Good armchair by Antonio Citterio for Flexform. Laccio coffee table by Marcel Breuer for Knoll. On top, the Amleto 01 vase by Ermes Glass. Hayama cabinet by Patricia Urquiola for Cassina. Longframe Soft chaiselongue by Alberto Meda for Alias. 
Parabola Bianca floor lamp by Atelier Biagetti. Echino coffee table by Sebastian Herkner for Zanotta. On top, Murano glass-work by VeArt from Compasso Gallery. Pensando ad Acapulco chair by Ivdesign for De Castelli. Skyfall II rug from the Scenematic collection by André Fu for Tai Ping.
Mingx chair by Konstantin Grcic for Driade. Clavis table by Daniele del Missier and Centro Progetti Tecno for Tecno Spa. On top, the Palla paperweight by Thévoz-Choquet for Bloc Studios and a blue Lampedusa pencil holder by Enzo Mari for Danese Milano. On the floor stands a Sicilia waste-paper basket by Bruno Munari for Danese Milano. Hanging lamp Pistillo by Emiliana Martinelli for Martinelli Luce. Mark Table by Marc Thorpe for Moroso. On top, sculpture of a central-plan church by Ultima Edizione from Noleggiocose. Modular cabinet by USM Haller.
Trolley storage unit Boby by Joe Colombo for B–Line. Rollingframe 52 chair by Alberto Meda for Alias. Compas Direction table by Jean Prouvé for Vitra. On top, Filo lamp by Andrea Anastasio for Foscarini. In the back, ZigZag bookcase by Konstantin Grcic for Driade. On Lines table lamp by Jean Nouvel for Nemo.
Trix lounge by Piero Lissoni for Kartell. Ondamarmo coffee table by Federica Elmo for Bloc Studios. In the back, Criss Cross Autumn neon panel by Albert Hien from Galleria Menhir.
On wall, Visioni A rug by Patricia Urquiola for cc-tapis. Frosted Ombré Glass Chair 02 by Germans Ermičs from Rossana Orlandi. Spaghetti chair by Giandomenico Belotti for Alias. A.I. chair by Philippe Starck for Kartell. Verso table by Maddalena Casadei for Fucina. On top, FAN-13 e FAN-8 vases by Formafantasma for Bitossi Ceramiche. Niobe and Sirio blown-glass Murano vases by Ettore Sottsass for Memphis.
La Linea lamp by BIG for Artemide. In back, on right, the Amoebe Highback chair by Verner Panton for Vitra. 

Photo: Ilaria Orsini
Set Design: Alessandra Chiarelli
Concept: Leftloft

Courtesy:
Comune di Milano M4 SpA
Salini Impregilo

Photographer’s assistant
Giacomo Colombo

Digital technician
Alberto Malorgio
@OFFICINA OTTO

Retoucher
Pablo Amati
@OFFICINA OTTO

From the April/May issue of ICON DESIGN.