The tip of the iceberg, or how archival heritage reemerges: the case of Triennale Milano

In recent years, a new architectural paradigm has emerged, reformulating the conventional imaginary of the archive. Traditionally perceived as a dark, dusty repository accessible only to archivists and dedicated researchers, the archive has revealed a renewed identity: open, visible, and public. A tip of the iceberg of immense archival heritage begins to emerge, shedding light on what was long concealed. Its dual nature—as both a place of preservation and a dispositif of control—is increasingly reoriented toward accessibility and exhibition. MVRDV’s Depot Boijmans Van Beuningen in Rotterdam arguably marked a turning point, exposing the archival machine and blurring the boundaries between storage and display. Triennale Milano’s Cuore – Centre for Studies, Archives, and Research, inaugurated in February 2024, aligns with this shift. Among various Milanese initiatives, Cuore represents the most emblematic case of this emerging model. This essay focuses on Cuore as a case study to investigate the architectural and conceptual implications of this new archival paradigm. Cuore reactivates Triennale’s century-long heritage through a space conceived not only as a repository but as a new locus of institutional memory and scholarly inquiry. Most significant, however, is the project’s architectural dimension: the opacity traditionally associated with the archive gives way to a novel transparency, restoring both light and cultural value to materials previously concealed in hidden depots. The project reclaims the archive’s aesthetic and design dignity and reasserts the potential of the architect’s authorship in the design of archives. The article is based on ongoing doctoral research on archives and the architecture of storage, conducted at the Department of Architecture and Urban Studies, Politecnico di Milano. This investigates, through fieldwork, the archives of various entities and fields across the Milanese territory.