Nestled in the foothills of the Alps, 50 miles east of Milan, the ancient city of Brescia is home to some of the best-preserved Roman remains in northern Italy, a Longobard convent that is now a UNESCO World Heritage site, and numerous Renaissance churches and palaces. It is also an important center of industry, with metallurgy, machine tools, and automotive engineering weighing heavily in the regional economy. Changing patterns of development have seen industrial decline in some of Brescia’s neighborhoods, such as Via Milano (as its name suggests, the beginning of the old road to the Lombard capital) where the city is undertaking a $50 million redevelopment campaign.
Launched in 2017 and baptized Oltre la Strada—“Beyond the Street”—the program aims to turn Via Milano “into a neighborhood and not just a traffic artery” through new investments that include a park, a bicycle lane, a community library, and a theater. Baptized Teatro Renato Borsoni, after an influential stage director who built his career in Brescia, the new venue will host a wide variety of performances and concerts, from rock and jazz to chamber music and choral works, and from Goldoni and Pirandello to young upcoming playwrights.
In the context of today’s Via Milano—a disparate mix of 18th-, 19th-, and 20th-century housing stock and abandoned postwar factories—the Borsoni stands out as the flagship project in the Oltre la Strada regeneration, even if the budget allocated to it seems absurdly low. “Initially I was told we had €4 million,” says Camillo Botticini, the Brescia-born architect (ARW Botticini+Facchinelli) who helped plan Oltre la Strada and who oversaw the theater’s design. “Obviously, that was impossible.” Located on a plot that was once part of the Ideal Clima factory, the €7.7 million ($8.4 million) building contains two auditoriums: the main hall, with a traditional stage and fly tower, which seats 312, and a smaller space, intended as a children’s theater, with a capacity of around 170 people seated on bleachers and the floor.
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Words by Andrew Ayers
Photos © Federico Covre