for young people aged between 14 and 25 (not yet turned 25); for groups of 15 people or more; registered journalists with a valid ID card; Museo Ebraico di ROma ticket holders; La Galleria Nazionale d’Arte Moderna e Contemporanea ticket holders; with presentation of ID card or badge: Accademia Costume & Moda, Accademia Fotografica, Biblioteche di Roma, Casa Internazionale delle Donne, Centro Sperimentale di Cinematografia, Enel (for badge holder and accompanying person), FAI – Fondo Ambiente Italiano, IED – Istituto Europeo di Design, IN/ARCH – Istituto Nazionale di Architettura, Interclub Welfare Card, ISFCI – Istituto Superiore di Fotografia, Sapienza Università di Roma, LAZIOcrea, NABA – Nuova Accademia di Belle Arti, Officine Fotografiche, Ordine degli Assistenti Sociali, Ordine dei Medici Chirurghi e degli Odontoiatri, Ordine Psicologi Lazio, Palazzo delle Esposizioni, Rinascente, Romaeuropa Festival, RUFA – Rome University of Fine Arts, Accademia Nazionale di Santa Cecilia, Scuola Internazionale di Comics, Teatro Olimpico, Teatro dell’Opera di Roma, Teatro di Roma, Università degli Studi di Roma Tor Vergata, Youthcard. buy online
minors under 14 years of age; disabled people requiring companion; MiC employees; European Union tour guides and tour guides, licensed (ref. Circular n.20/2016 DG-Museums); 1 teacher for every 10 students; ICOM members; AMACI members; accredited journalists; myMAXXI membership cardholders; students and university researchers in Art and Architecture from Tuesday to Friday (excluding holidays); IED – Istituto Europeo di Design professors, NABA – Nuova Accademia di Belle Arti professors, RUFA – Rome University of Fine Arts professors; on your birthday presenting an identity document; for the entrance to gallery 1, from Tuesday to Thursday; for the entrance to gallery 1 every Friday until 28 May 2021, thanks to Acea. book online
An international review examining and investigating, through diverse idioms, the myriad faces of contemporary living.
The international review of documentaries Doc Home has been conceived as an opportunity for a thematic complement to the exhibition At home. Designs for contemporary living and provides for a programme of documentaries, short films, video reports and interviews that will examine and investigate, through diverse idioms, the myriad faces of contemporary living.
The videos, selection from the Art Doc Festivalarchive, constituted over the 15 years of the organization of art and architecture documentary events, will also be an opportunity to discuss the conceptual and compositional processes followed by a number of great masters of contemporary architecture.
Four weeks of programming revolving around various thematic nuclei, from experimental home to the renovation of crumbling residential complexes, from the homes of architects to the headquarters of major corporations, from the suburban villas to the relationship with the city centre.
11 > 15 December
An eye on the masters from the ’50s to today With Le Corbusier – his architecture and even his dog – the absolute protagonist of very rare archive documents, interviews and newsreels, but above all with the documentaries on the masters of 20th century Italian architecture: from the Rationalism of Adalberto Libera to the reticent allusiveness of the works of Aldo Rossi, from the precious talents of Carlo Scarpa to the triumph of Pier Luigi Nervi’s technology. Within the mesh of what could be read as a triumphal march of modern architecture in Italy, emerges darkly the kilometre-long utopia, transformed into a social dystopia of the roman quarter of Corviale, narrated in its real and imagined reality as a filed for the realisation of new projects.
17 > 22 dicembre Cities and metropolises. Do we love architecture? Houses, houses, houses. The Roman apartment buildings beloved of Nanni Moretti in Caro Diario and which become settings for numerous Italian-style dramas and comedies, homes that are both loved and detested. “Intelligent” homes that seem to rebel against the normal lives of their inhabitants and home with balconies with no railings and rooms without doors that overlook the magnificent landscape of Florence. Houses in Italy, for example in the unique setting of Elba (Villa Balmain by Leonardo Ricci) or abroad, such as the magnificent Villa Planchart by Gio Ponti on a hill overlooking Caracas, designed via telegrams and furnished with Italian furniture and works of art transported by sea. Houses as protagonists, at times eccentric or experimental, but always necessary.
24 > 29 December The avant-garde: squinting at architecture The protagonists of the films in the third week are interior design and architecture: the avant-garde of the French Visionnaires and the Italian avant-garde of a particularly successful decade (1965-75) when the nation’s Radicals were exhibited in the American museums and celebrated internationally. A film narrates the figure of Achille Castiglioni as the master tout court of the Italian school of industrial design, while another looks at the homes inhabited by architects. Eccentrically, some of them elect their own home as an extension of their studio, others collect precious documents of the modern, others still live in enormous libraries, like the protagonist of Calvino’s Baron who lived in the trees. Lastly, in another documentary, we are admitted to the home of Le Corbusier, where we discover, along with the spacious painting studio, beds as high as perches, the master bedroom full of showers, basins and taps and we realise how complicated the restoration of the modern can be.
31 December > 6 January Problems, movements and revolutions The final week of the review is dedicated to social experiments and peripheral cities. On the edge of Rome, in an abandoned factory, arises a nomadic and spontaneous museum known as Metropoliz where we live and design together a rocket to reach the moon. In the centre, instead, we live in the former Pantanella factory as if this old industrial building was a city. Rimini’s skyscraper becomes the protagonist of the life of the entire city and Lisbon enchants us with its urban landscapes, while deep-rooted poverty in Catania paints a social fresco simultaneously poetic and terrible. This is offset by a fairy-tale and surreal landscape in which the people seem to live happily displaced in the luxuriance of nature and this leads us to the Eni village of Pieve di Cadore, designed by the architect Edoardo Gellner between the end of the 1950s and the beginning of the ’60s, when the enlightened industrialists such as Adriano Olivetti or Enrico Mattei constructed avant-garde factories and model villages to the benefit of workers and management.