Voce at Triennale Milano Elevates Music to Museum-Worthy Art Status.

Photography: Delfino Sisto Legnani, DSL Studio © Triennale Milano.

In an era dominated by digital consumption, spaces dedicated entirely to the analogue experience of sound are becoming profoundly compelling. Globally, we’re witnessing a renaissance of venues that prioritise listening as a communal act—from Tokyo’s listening bars to Berlin’s sound galleries. These spaces tap into our collective hunger for authentic, shared experiences that simply cannot be replicated through headphones or home speakers.

Triennale Milano’s latest addition, Voce, embodies this movement perfectly. Opening on 13 May 2025, this 300-square-metre sound sanctuary represents a significant shift in how cultural institutions approach music and listening. Located on the park level of Giovanni Muzio’s historic Palazzo dell’Arte, Voce transforms the building’s relationship with sound, returning music to a space that has housed it since 1933.

The venue’s design, developed by AR.CH.IT Luca Cipelletti, respects Muzio’s original 1933 architecture while introducing cutting-edge acoustic technology. The rectangular framework, supported by pillars that create three asymmetrical naves, now features a sophisticated 2.2-metre-high band of sound-insulating and sound-absorbing panels that encircle the walls and ceiling. This technical precision serves the space’s primary function: creating optimal conditions for pure listening.

The centrepiece is a revolutionary soundwall employing a distributed-mode speaker system, developed in collaboration with designer and hi-fi specialist Giorgio Di Salvo, acoustic engineer Lucio Visentini, and acoustic panel manufacturer Knauf. This technology enables what Triennale President Stefano Boeri describes as “a sound and acoustic environment that is technically more appropriate and less distracting due to the absence of visual stimuli.”

Philippe Malouin’s custom-designed modular felt seating system, manufactured by Meritalia, reinforces the space’s adaptability. The visible stitching and club-like arrangement—long sofas along walls, listening station armchairs centrally placed, and perimeter lounges—creates an environment that feels both intimate and professional.

The lighting design by Alberto Saggia and Stefania Kalogeropoulos’ studio, Anonima Luci, uses 350 metres of pixel-to-pixel digital LEDs to architecturally define the space. This creates atmospheric possibilities that range from monochromatic moods to gradient animations, supporting rather than competing with the sonic experience.

Voce’s commitment to exclusivity through its collection of unpublished musical works is particularly significant. As Boeri explains, “We want to create an actual collection of musical works that can only be appreciated in this space, in the same way that a Renaissance painting or Baroque sculpture can only be appreciated in an art museum.” This approach elevates music to the status of fine art, requiring physical presence for full appreciation.

The programming, coordinated by Damiano Gulli, spans established and emerging artists, from Subsonica’s Boosta to Portishead’s Beth Gibbons. Beyond concerts, Voce will host sound-focused lectures, workshops, and radio production, positioning itself as both venue and cultural laboratory.

Director General Carla Morogallo notes that this space “marks a historic turning point” for the institution, emphasising “disciplinary integration without spatial separations.” In our increasingly fragmented digital landscape, Voce offers something radical: a space where sound demands our complete, undivided attention.

[Images courtesy of Triennale Milano. Photography by Delfino Sisto Legnani, DSL Studio © Triennale Milano.]