Historic Palazzo del Comune di Milano located in Piazza del Duomo next to the entrance arch of Galleria Vittorio Emanuele. The restoration sponsored by ONE in 2012 allowed the recovery of the main façade, thus contributing to restoring ancient splendor to one of the most evocative contexts of the city.
Palazzo dei Giureconsulti is a historic 16th-century Mannerist-style palace located in Milan’s Piazza Mercanti, on the corner of Piazza del Duomo. The construction of the Palazzo dei Giureconsulti was desired and financed by the Milanese nobleman Giovanni Angelo Medici, who ascended to the papal throne under the name of Pope Pius IV, to house the “Collegio dei Nobili Dottori,” i.e., all those people who were in charge of the city’s management. Construction was started in 1562, based on a design by Vincenzo Seregni, on the same site on which since the formation of the Piazza dei Mercanti (13th century) stood the notaries’ palace, incorporating the tower of Napo Torriani, which became the civic tower; its bell (later replaced by the present clock) was called the “Zavataria” in honor of the podestà Zavatario della Strada who had made a gift of it to the city. The bell announced curfews, the burning of fires, and the execution of condemned men.
Historic Palazzo del Comune di Milano located in Piazza dei Mercanti, a connecting point between Piazza del Duomo and Piazza Cordusio. The restoration sponsored by ONE began in 2019 with the aim of recovering the main façade, thus contributing to restoring ancient splendor to one of the most evocative contexts of the city.
The church was dedicated to San Marco in recognition of the help Venice gave to Milan in the fight against Barbarossa, but the first certain news dates back to 1254 when Lanfranco Settala, general prior of the Hermits of St. Augustine, had a Romanesque church built, perhaps incorporating previous buildings. In the oldest documents, the church and the convent are indicated as being located in suburbis (on the outskirts) of the city.
This church is a particular case of a “double church”, similar to that of San Cristoforo al Naviglio, also in Milan, looking from the churchyard, the church on the left is the oldest, because it already existed in the municipal age, was governed by the hermit fathers of San Marco and was dedicated to Santa Maria di Garegnano.
Next to the church, at the beginning of the fifteenth century, a convent was built for the Augustinian fathers, who restored the ancient church in the late Gothic style, typical of that century. Since the works were completed on the occasion of the coronation of Francesco Sforza as Duke of Milan (1451), they dedicated it to Santa Maria Incoronata, dedicating it to the new lord of the city.
The Gesto per la Libertà monument by Carlo Ramous, inaugurated in 1975, is one of the most significant works of contemporary sculpture in Milan. Located in Piazza Cavour, this monument was created to celebrate freedom and democratic values, which were particularly important in the historical and political context of Italy at the time, marked by the post-war period and the end of fascism.
The sculpture depicts an uplifted arm, which can be interpreted as a symbol of resistance, the struggle for rights, and hope. Its form is simple and almost abstract, yet the gesture it portrays is universal: the raising of an arm is an act of liberation, of asserting one’s identity and will. The sculpture, made of bronze, is imposing and minimal, but its message is strong and clear.
The work fits into an urban context that seeks to remind us of the importance of freedom and civil rights, and its location, near a key point in the city, makes it a landmark for those passing through the area. It is a sculpture that invites reflection, but also active participation in building a more just and free society.
Ramous’ Gesto per la Libertà is not just a piece of art; it is a true declaration of democratic values, which remain ever relevant, even today.
The Mère Ubu monument by Joan Miró, located in Milan on Via Senato, is a monumental bronze sculpture standing about 4 meters tall, donated to the city by the artist in 1976. The piece represents Mère Ubu, one of the characters from the famous play “Ubu Roi” by Alfred Jarry. Mère Ubu is known for her grotesque and tyrannical nature, symbolizing greed and corruption, and Miró chose to depict her with a highly stylized appearance: a body with zoomorphic features, a bird-like head, and a concave belly resembling a cave.
The sculpture is crafted using Miró’s distinctive language, blending primitive signs and surrealist symbols, creating a figure that is both childlike and unsettling. The choice of this character is not accidental: Mère Ubu represents human greed and pettiness, themes frequently explored in the artist’s work. The piece is set within the historic and cultural context of Milan, creating a striking contrast with the surrounding 17th-century buildings, bringing a touch of modernity and surrealism to this historical area of the city.
The monument has become a point of reference for both locals and tourists, provoking various reactions, from admiration to perplexity. After a recent restoration, the sculpture has regained its original allure and continues to stand as a powerful presence in the heart of Milan. Its placement in front of the State Archive adds to its mystique, almost as if it were conversing with the city’s historical past and memory.
In a sense, Mère Ubu embodies an art form that, while maintaining strong symbolic and provocative messages, seamlessly integrates into the urban landscape, becoming a work of public access and reflection. With its powerful critique of oppression and selfishness, the monument invites all who observe it to engage with its universal themes, making Milan a city that looks toward the future with a critical eye, ever mindful of its past.
The baptistery dedicated to St. John the Baptist, patron saint of the city of Florence, stands in the heart of the city in front of the Cathedral of Santa Maria del Fiore, in Piazza San Giovanni.
The restoration work was supervised by the Opera di Santa Maria del Fiore and completed in autumn 2015, culminating in the inauguration of the new Opera Duomo museum and the visit of the Pope.
On the occasion of Pitti Immagine in June 2015, ONE curated a grandiose installation covering over 3,000 square meters of scaffolding with the reproduction of the historic Florence scarf designed by Emilio Pucci in 1957.
The restoration of the Baptistery was also an opportunity to experiment with a crowdfunding operation conveyed through the advertising displays of the sponsors who, with ONE, contributed to the restoration work.
The Palazzo delle Generali in Rome, located in Piazza Venezia, is an impressive building constructed in the 1930s during the Fascist era. Designed by architect Giulio Magni, it features a rationalist style with neoclassical influences, characterized by severe lines and symmetry. The building houses the historic headquarters of Generali, one of the leading insurance companies worldwide. The main facade, made of travertine, is adorned with details that reflect the era of the Fascist regime. Inside, the building retains elegant and functional spaces, with a large atrium and offices spread across multiple floors. The palace is an example of how architecture can also be used to convey political and institutional symbolism.
La basilica di Santa Maria in Via Lata è un luogo di culto cattolico di Roma, nel rione Pigna. La chiesa è sita in via del Corso, l’antica via Lata, da cui l’attributo della chiesa.
La tradizione afferma che Paolo di Tarso sia vissuto in questo luogo agli arresti domiciliari in attesa del processo; una simile affermazione è però fatta anche per la chiesa di San Paolo alla Regola.
