L’architetto Tommaso Buzzi (1900-1981) acquistò l’area del Convento della Scarzuola nel 1956 e progettò e realizzò la Città Buzziana che vi sorge accanto nel giro di venti anni.
L’obiettivo che si era posto sin dall’inizio era quello di concepire una “città ideale”, in cui potesse avvenire una sorta di incontro della natura con la cultura. Ne è scaturito un complesso architettonico nel quale sono disseminati simbolismi, allegorie e citazioni di ogni tipo, particolarmente ricco di stanze piccole e vuote che lo rendono simile ad un gigantesco termitaio.

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Tommaso Buzzi è considerato uno dei più interessanti designer italiani del Novecento, oggetto di studi anche in questi ultimi anni. Protagonista della scena milanese degli anni Venti e Trenta, ebbe importanti ruoli organizzativi in numerose manifestazioni e rassegne dedicate alle arti applicate, sia nazionali che internazionali. Si impegnò nel campo della progettazione di mobili ed oggetti d’arredo in generale. La fantasia e l’irriverenza, untiti al continuo utilizzo di citazioni umanistiche, letterarie e classiche che contraddistinguevano le sue opere, gli valsero la simpatia e la fedeltà della nobiltà e dell’alta borghesia milanese, anche se probabilmente impedirono all’architetto di raggiungere una notorietà al di fuori di quegli ambti ristretti.

Nel 1956, quando si ritirò, decise di acquistare il convento della Scarzuola e di trasformarlo in una sorta di “autobiografia in pietra” della sua carriera di artista, come afferma nel suo libro ” Lettere Pensieri Appunti 1937-1979″ (Silvana, Milano 2000). Fu così che generò questo ponte ideale tra sacro e profano, tra vecchio e moderno, conservando intatta la struttura conventuale, ma affiancandole allo stesso tempo la sua “città ideale”.

La Città Buzziana è una composizione architettonica ispirata al neomanierismo, ben visibile dalle numerose scalinate che attraversano il complesso, dall’allungamento e la sproporzione di forme e dalle numerose statue disseminate ovunque. L’opera è divisa in sette teatri: il Teatro delle Arnie, il Teatro della Torre, il Teatro sull’acqua, il Patio tondo, il Patio infinito, il Teatrino sportivo e, infine, il Teatro dell’Acropoli, in cima a tutta la struttura. Quest’ultimo è l’edificio più in alto, che domina la struttura e si affaccia sul paesaggio di Montegiove. La varietà di figure che possiamo ammirare nella Città Buzziana comprende Pegaso, la Torre dell’Angelo Custode e del Tempo, templi dedicati alle più svariate divinità, la Torre di Babele. Tra le numerose scale risaltano la Scala Musicale delle Sette Ottave e la Scala di Giobbe.

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The architect Tommaso Buzzi (1900 – 1981) bought the area surrounding the Scarzuola Convent in 1956 and he planned and realized the Città Buzziana, rising near the convent, in twenty years’ time.

The aim of his plan was to create a sort of “ideal” city where a blend between nature and culture could take place. The result has been an architectural complex where symbolisms, allegories and any kind of citations are scattered throughout it and where there are many small and empty rooms that make it appear like a giant termitarium.
Tommaso Buzzi is considered one of the most interesting Italian designers of the XX century and he has been a subject of research during the last years. He was a protagonist in Milan in the 20’s and the 30’s of the XX century. He played an important role as the organizer of numerous manifestations and reviews about national and international applied arts. He worked in the domain of furniture and planning.

Fantasy and irreverence, together with the continuous use of humanistic, literary and classical quotations that distinguished his works, earned him the sympathies and the loyalty of the nobles and the high society, even though they probably prevented the architect from being renowned outside these environments.
In 1956, when he retired, he decided to buy the convent of the Scarzuola and to transform it into a sort of “autobiography on stone” of his career as an artist, as he himself states in his book “Lettere Pensieri Appunti 1937-1979” (Silvana, Milano 2000). This is how he created this bridge between old and new, keeping the structure of the convent and adding his “ideal city” to it.

The Città Buzziana is an architectural composition inspired from neo-Mannerism as it can be inferred from the staircases that cross the complex and by the extension and the lack of proportion of its shapes, but also from the numerous statues that are present everywhere.

This work is divided into seven theatres: the Teatro delle Arnie, the Teatro della Torre, the Teatro sull’acqua, the Patio tondo, the Patio infinito, the Teatrino sportivo and, finally, the Teatro dell’ Acropoli, on top of the whole structure. The latter is the highest building that overlooks the complex and the landscape of Montegiove. The variety of figures that can be admired inside the Città Buzziana includes Pegaso, the Torre dell’Angelo Custode e del Tempo. There are temples dedicated to the most diverse deities and the Torre di Babele. Among the numerous staircases, the Scala Musicale delle Sette Ottave and the Scala di Giobbe stand out.

The architect Tommaso Buzzi (1900 – 1981) bought the area surrounding the Scarzuola Convent in 1956 and he planned and realized the Città Buzziana, rising near the convent, in twenty years’ time.

The aim of his plan was to create a sort of “ideal” city where a blend between nature and culture could take place. The result has been an architectural complex where symbolisms, allegories and any kind of citations are scattered throughout it and where there are many small and empty rooms that make it appear like a giant termitarium.
Tommaso Buzzi is considered one of the most interesting Italian designers of the XX century and he has been a subject of research during the last years. He was a protagonist in Milan in the 20’s and the 30’s of the XX century. He played an important role as the organizer of numerous manifestations and reviews about national and international applied arts. He worked in the domain of furniture and planning.

Fantasy and irreverence, together with the continuous use of humanistic, literary and classical quotations that distinguished his works, earned him the sympathies and the loyalty of the nobles and the high society, even though they probably prevented the architect from being renowned outside these environments.
In 1956, when he retired, he decided to buy the convent of the Scarzuola and to transform it into a sort of “autobiography on stone” of his career as an artist, as he himself states in his book “Lettere Pensieri Appunti 1937-1979” (Silvana, Milano 2000). This is how he created this bridge between old and new, keeping the structure of the convent and adding his “ideal city” to it.

The Città Buzziana is an architectural composition inspired from neo-Mannerism as it can be inferred from the staircases that cross the complex and by the extension and the lack of proportion of its shapes, but also from the numerous statues that are present everywhere.

This work is divided into seven theatres: the Teatro delle Arnie, the Teatro della Torre, the Teatro sull’acqua, the Patio tondo, the Patio infinito, the Teatrino sportivo and, finally, the Teatro dell’ Acropoli, on top of the whole structure. The latter is the highest building that overlooks the complex and the landscape of Montegiove. The variety of figures that can be admired inside the Città Buzziana includes Pegaso, the Torre dell’Angelo Custode e del Tempo. There are temples dedicated to the most diverse deities and the Torre di Babele. Among the numerous staircases, the Scala Musicale delle Sette Ottave and the Scala di Giobbe stand out.

The architect Tommaso Buzzi (1900 – 1981) bought the area surrounding the Scarzuola Convent in 1956 and he planned and realized the Città Buzziana, rising near the convent, in twenty years’ time.

The aim of his plan was to create a sort of “ideal” city where a blend between nature and culture could take place. The result has been an architectural complex where symbolisms, allegories and any kind of citations are scattered throughout it and where there are many small and empty rooms that make it appear like a giant termitarium.
Tommaso Buzzi is considered one of the most interesting Italian designers of the XX century and he has been a subject of research during the last years. He was a protagonist in Milan in the 20’s and the 30’s of the XX century. He played an important role as the organizer of numerous manifestations and reviews about national and international applied arts. He worked in the domain of furniture and planning.

Fantasy and irreverence, together with the continuous use of humanistic, literary and classical quotations that distinguished his works, earned him the sympathies and the loyalty of the nobles and the high society, even though they probably prevented the architect from being renowned outside these environments.
In 1956, when he retired, he decided to buy the convent of the Scarzuola and to transform it into a sort of “autobiography on stone” of his career as an artist, as he himself states in his book “Lettere Pensieri Appunti 1937-1979” (Silvana, Milano 2000). This is how he created this bridge between old and new, keeping the structure of the convent and adding his “ideal city” to it.

The Città Buzziana is an architectural composition inspired from neo-Mannerism as it can be inferred from the staircases that cross the complex and by the extension and the lack of proportion of its shapes, but also from the numerous statues that are present everywhere.

This work is divided into seven theatres: the Teatro delle Arnie, the Teatro della Torre, the Teatro sull’acqua, the Patio tondo, the Patio infinito, the Teatrino sportivo and, finally, the Teatro dell’ Acropoli, on top of the whole structure. The latter is the highest building that overlooks the complex and the landscape of Montegiove. The variety of figures that can be admired inside the Città Buzziana includes Pegaso, the Torre dell’Angelo Custode e del Tempo. There are temples dedicated to the most diverse deities and the Torre di Babele. Among the numerous staircases, the Scala Musicale delle Sette Ottave and the Scala di Giobbe stand out.

The architect Tommaso Buzzi (1900 – 1981) bought the area surrounding the Scarzuola Convent in 1956 and he planned and realized the Città Buzziana, rising near the convent, in twenty years’ time.

The aim of his plan was to create a sort of “ideal” city where a blend between nature and culture could take place. The result has been an architectural complex where symbolisms, allegories and any kind of citations are scattered throughout it and where there are many small and empty rooms that make it appear like a giant termitarium.
Tommaso Buzzi is considered one of the most interesting Italian designers of the XX century and he has been a subject of research during the last years. He was a protagonist in Milan in the 20’s and the 30’s of the XX century. He played an important role as the organizer of numerous manifestations and reviews about national and international applied arts. He worked in the domain of furniture and planning.

Fantasy and irreverence, together with the continuous use of humanistic, literary and classical quotations that distinguished his works, earned him the sympathies and the loyalty of the nobles and the high society, even though they probably prevented the architect from being renowned outside these environments.
In 1956, when he retired, he decided to buy the convent of the Scarzuola and to transform it into a sort of “autobiography on stone” of his career as an artist, as he himself states in his book “Lettere Pensieri Appunti 1937-1979” (Silvana, Milano 2000). This is how he created this bridge between old and new, keeping the structure of the convent and adding his “ideal city” to it.

The Città Buzziana is an architectural composition inspired from neo-Mannerism as it can be inferred from the staircases that cross the complex and by the extension and the lack of proportion of its shapes, but also from the numerous statues that are present everywhere.

This work is divided into seven theatres: the Teatro delle Arnie, the Teatro della Torre, the Teatro sull’acqua, the Patio tondo, the Patio infinito, the Teatrino sportivo and, finally, the Teatro dell’ Acropoli, on top of the whole structure. The latter is the highest building that overlooks the complex and the landscape of Montegiove. The variety of figures that can be admired inside the Città Buzziana includes Pegaso, the Torre dell’Angelo Custode e del Tempo. There are temples dedicated to the most diverse deities and the Torre di Babele. Among the numerous staircases, the Scala Musicale delle Sette Ottave and the Scala di Giobbe stand out.