Milan: Villa Necchi Campiglio
Swimming pools and Italian Rationalism
In 1930, Angelo Campiglio commissioned architect Piero Portaluppi to design a glamorous home for his family, including his wife, Gigina Necchi, and his sister-in-law, Nedda Necchi, members of the wealthy and elegant industrial bourgeoisie of 1930s Milan. Overlooking Via Mozart, the home transcends typical Milanese residential architecture and facilitates country living with its large garden, tennis court and the first private swimming pool in the city.
Portaluppi leans towards Italian Rationalism as the house sits between classicism and modernity. The Italian Rationalism movement was supported by the fascist regime of the period, with its principles favouring Roman classicism and functionalism. Structures favour geometric forms and practicality; design was led by reason and seen as a new way for architecture to reflect the rise of the revolutionary Italian nationalism. In contrast to the more rigid exterior, Portaluppi still embraced the tending Art Deco themes in the decorative aspect of his designs - for example, the Greek key balustrade in the entrance hall and the sliding alpacca doors in the veranda.
The main facade of the villa is covered with large ceppo stone slabs, granite, and arabescato marble - all popular in the Lombardy region and assembled in alternate combinations. The staircase and canopy leading to the entrance hall are semi-circular, introducing the Art Deco motifs on arrival. The villa's ground floor houses the art collection of Claudia Gian Ferrari, a renowned gallery owner and collector who donated her collection of famous early 20th-century Italian artists, including Arturo Martini and Massimo Campigli.
During my visit, the veranda was the most striking room of all, looking out to the garden through its large windows. The room is a meeting point between the interior and the exterior, creating the effect of a winter garden. Portaluppi emphasises this link to nature with the sage green walls, the Roja and Patrizia marble floor, and the green S-shaped sofa. He achieves overall balance in the room through the precise, interwoven geometric marble bands in the floor and the staggered openings in the sliding door. The furnishings in the veranda, including the display of Chinese vases, captured the Necchi Campiglio’s interest in oriental art, which was common in the houses of the rich in the 20th century.
The library has maintained Portaluppi’s original design from 1935, including the built-in rosewood bookshelves and the fireplace. The decorative diamond motif on the library ceiling is repeated throughout the house, from the ceiling of the wardrobe gallery to the sliding doors in the smoking room and various furniture features.
The burr walnut panelled staircase leads to the large atrium that separates into the wardrobe gallery, master, guest and housekeeper bedrooms all fitted with an en suite. The artwork on the upper floor captures the Necchi Campiglio’s taste for 18th-century Venetian paintings.
The wardrobes display the hat collection of the Necchi sisters, who were always in the latest designs from Paris, alongside preserved gloves, clothes and accessories. The wardrobe gallery is either enamelled or covered in fabric to provide the illusion of a separate room and allow the housekeepers to collect clothes without disturbing the privacy of their guests.
A notable visitor was Prince Enrico d'Assia, a frequent guest and set designer for La Scala; however, his guest room now houses the Guido Sforni Collection, which includes works on paper by Matisse, Picasso and Modigliani.
Angelo and Gigina, and Nedda’s master bedrooms are assigned to three symmetrical sections by Portaluppi - the bedroom, the bathroom and the dressing room. Angelo and Gigina’s bathroom is lavishly finished with arabescato marble, a modern bathing system and a peculiar design element - a star-shaped window. This playful feature by Portaluppi provides information about his fascination with the passing of time across the walls of houses. During this period, interests in astronomy, geometry and overall modern sensibility reflect the combination of classicism and modernity in Italian Rationalism, so much so that the only decoration on the facade is a sundial on the south side.
Villa Necchi Campiglio is featured in the 2021 film House of Gucci, and the 2009 film I Am Love.
Whilst the rationalist era lost popularity, Portaluppi’s green and red marble geometric inspirations are back on the scene as featured in Architectural Digest earlier this year.