Like a concrete leviathan, Melara looms. This housing complex stirs strong feelings. Some call it “Alcatraz”. Others know it as “the quad”. But what is the story behind Melara?
Melara’s tale begins in 1964. A plan emerged to create a new residential area. It was to be called Rozzol Melara. Four years later, Trieste was chosen as the location. The site was a hillside offering views of the city and sea.
The Territorial Housing Agency of Trieste or ATER oversaw the project. This agency had a long history. It started in 1902 as the Municipal Institute for Affordable Housing. ATER today owns around 11% of rented homes in the province.
The idea was to build a “mini-city”. This settlement would be away from the urban sprawl. It would have all necessary facilities. Shops and schools would be included.
Engineers from Trieste and architect Carlo Celli developed the project. Their work drew inspiration from Le Corbusier. He was known for his urban planning theories. He sought to improve living conditions in crowded cities.
Walkways would connect buildings. Landscaping would enhance the environment. Services and playgrounds would foster community. These features were central to the design.
By 1979, the first residents received their keys. Most were young couples. Construction finished in 1981. Rozzol Melara covered 11 hectares. It had 468 apartments for around 2,500 residents. There was a medical center and over twenty shops. Schools and a garage completed the complex.
The multi-story concrete blocks formed an L-shape. A courtyard sat between them. Passages and walkways connected the two buildings. They formed a large cross in the central courtyard. The courtyard was meant to be a community space. People could meet and enjoy social events there.
Unfortunately, planning control faltered after construction. New buildings sprung up around Melara. This undermined the original design. The relationship between buildings and green space was lost. Activities and services spread out from the courtyard. The sense of community faded.
Over time, the building deteriorated. Graffiti appeared. ATER launched a competition in 2002 to modernize the central space. The aim was to restore its original purpose. It should again be a convenient location. It should offer services and community events. Improving vehicle access was also suggested. Redesigning the areas facing Trieste was another consideration.
The design of Melara combined concrete blocks with walkways. Critics suggested it looked like a design by committee. Carlo Celli led a team of architects. Inspiration came from Corbusier’s Sainte Marie de La Tourette. Rozzol Melara aspired to be a model for modern social housing. Instead, it became an example of how not to build a community. The physical presence of concrete contributed to residents feeling unsafe.
In recent years, the government has invested in improving the estate. There is recognition that design alone does not create community. There is now a grudging admiration for what Celli tried to achieve.
Today, Melara is not a paradise. But it tries. It is a case of social housing transformed by optimism. Melara schools are now sought after. Motivated teachers love working in these border territories. Social commitment has led to neighborhood associations. They aim to give identity to the place. They want to build a liveable, safe, and welcoming community.
Perhaps this is why Trieste Brutalism has an uncommon charm. Singer Mahmood filmed the video for “Tuta Gold” here. Writer Carlo Lucarelli set the crime series “La Porta Rossa” here. Melara offers surreal atmospheres. It tells of mental landscapes and crises of meaning. But there is also hope.
The fate of this imposing building remains undecided. Any future renovation will likely focus on residents’ needs. It will be less about making an architectural statement. So as you stand here remember its story. Melara is a complex of hope. It is a structure of challenges. It is a living testament to the dreams and realities of urban life.