On a rainy day in Milan, we stop into the Palazzo Citterio. The Fondazione Nicola Trussardi is operating inside of it as a contemporary art gallery. We wind our way into the exhibition spaces in the basement. They are in finely poured but unfinished concrete, with shafts disappearing into the dark, boarded up openings, and finally a large, symmetrical room, entered from a staircase, with circular openings on the far wall. Speaking in very broken Italian with one of the volunteers, it comes out that we are in an unfinished expansion to the Pinoteca Brera across the street, begun in the 1980s by James Stirling. According to a recent issue of Art Forum, recent plans to expand elsewhere by the Brera mean that it will not be finished for that institution. The foundation offers occasional shows in the space (this was a retrospective of Paul McCarthy) as a means of promoting some further development of the project.
His research is focused on the diverse and shifting positions of architecture within Francoist Spain (1939-1975). It pursues a number of related questions, examining the relations between institutions of architecture and the regime, the function of architecture at the intersection of totalitarianism and an increasingly free market, and the evolution of architecture in Spain in the void left by the post-Civil War rejection of international modernism.