The Museum Of The Twentieth Century Avatar Architettura

2015-07-10 17:00

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

架构师提供的文本描述。阿凡达·阿希特图拉负责佛罗伦萨诺维琴托博物馆的博物馆设计和展览，该博物馆坐落在圣保罗老医院(后来被称为莱奥波丁学校)迷人的纪念性建筑群中，面对圣玛丽亚诺维拉大教堂，在佛罗伦萨市美术服务处策划了一个长期的修复项目之后，由于佛罗伦萨的Ente Cassa di Risparmio提供了捐款，最近才开业。

Text description provided by the architects. Avatar Architettura was responsible for the museographic and exhibition design of the Museo Novecento in Florence, housed in the charming monumental complex of the old Hospital of San Paolo (later known as the Leopoldine Schools), facing the Basilica of Santa Maria Novella and recently opened after a long restoration project curated by the Fine Arts Service of the Municipality of Florence thanks to a contribution from the Ente Cassa di Risparmio of Florence.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

在近半个世纪的提案和项目之后完成并于去年夏天开幕的Novecento博物馆展出了部分市政收藏品以及与近几十年有关的艺术品和文件，这些艺术品和文件是由艺术家、收藏家和慷慨支持创建这一新机构的组织借来的。

Completed after almost half a century of proposals and projects and opened last summer, the Museo Novecento exhibits a part of the Municipal collections together with artworks and documents relating to recent decades, loaned by artists, collectors and organizations that have generously supported the creation of this new institution.

 Ground Floor Plan

市政收藏品的房间轮流展出，艺术家和收藏家的大量捐赠都是由于评论家卡洛·卢多维科·拉吉安蒂(Carlo Ludovico Ragghianti)1966年洪水过后的呼吁而得到的，其中包括著名的阿尔贝托·德拉·拉吉奥(Alberto Della Ragione)收藏。从德·奇里科到莫兰迪，埃米利奥·维多瓦到雷纳托·古图索，再到威尼斯双年展的佛罗伦萨区，诺维琴托博物馆将两个博物馆合二为一：一个是公民博物馆，一个是把20世纪的公共藏品与城市历史联系起来的博物馆，还有一个“沉浸式”博物馆，将该镇的遗产与六十年代下半叶标志着该领土的国家和国际艺术活动的证词结合起来。

The rooms dedicated to the municipal collections display, on a rotating basis, the numerous donations from artists and collectors received thanks to an appeal made by the critic Carlo Ludovico Ragghianti after the flood of 1966, including the prestigious Alberto Della Ragione collection. From De Chirico to Morandi, Emilio Vedova to Renato Guttuso, up to the Florentine section at the Venice Biennale, the Museo Novecento embodies two museums in one: a civic museum, through a narrative that links the public collections of the 20th century to the history of the city, and an “immersive” museum, integrating the town's heritage with testimonies of the national and international artistic events that marked the territory from the second half of the Sixties.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

该项目由阿凡达·阿奇泰图拉(Nicola Santini和Pier Paolo Taddei)在很短的时间内开发，经济资源有限，该项目以独创性和信心解释了复杂的需求体系。从博物馆的地理位置和特征出发，博物馆的设计由科学馆长瓦伦蒂娜·根西尼(ValentinaGensini)定义，他鼓励人们寻找“博物馆的新概念”。一个身临其境的博物馆，为游客提供个性化的独特体验：艺术品、装置、音响设备和多媒体设备，构成了二十世纪从九十年代到本世纪初前卫的倒退之旅。“

Developed in a very short time and produced with limited economic resources, the project by Avatar Architettura (Nicola Santini and Pier Paolo Taddei) interprets a complex system of requirements with originality and confidence. Starting with the physical location of the museum and its identity, the museographical project was defined by the scientific curator Valentina Gensini who encouraged the search for “a new concept of museum. An immersive museum that offers a unique experience personalized for visitors: artworks, installations, sound devices and multimedia equipment construct the narrative of the Twentieth Century in a backwards journey from the Nineties to the avant-garde of the beginning of the century.”

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

离开圣玛丽亚诺维拉教堂(Santa Maria Novella)的外墙后，游客们将面对圣保罗医院(Hospital Of San Paolo)的标志性建筑群。最初的核心建筑建于13世纪初，是朝圣者、病人、穷人和乞丐的避难所。入口处位于米开罗佐设计的洛贾之下，通往一个大修道院，售票处位于一楼，展览道绕到上面的楼层。在这里，在圆木的南侧，有三个令人惊讶的空间装置，短短的铁制走廊，其主要特征是使用颜色和扭曲的平行柱形状，类似于漏斗，为公众提供了进入房间的机会。

Leaving the façade of the church of Santa Maria Novella behind them, visitors face the monumental complex of the Hospital of San Paolo, the original core of which was built at the start of the thirteenth century as a refuge for pilgrims, the sick, the poor and beggars. The entrance, located under the loggia designed by Michelozzo, leads to a large cloister where the ticket counter is located on the ground floor and the exhibition path leads around it to the floor above. Here, on the south side of the loggia, three surprising spatial devices, short corridors made of iron, heavily characterized by the use of colour and the shape of distorted parallelepipeds, similar to funnels, provide the public with access to the rooms.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

策展人安排的回溯时间的旅程是这样开始的：参观者很快就会看到最近的作品，接着又找到了二十世纪初的作品，一间接一间。虽然入口的特点是一个清晰可识别的建筑解决方案，阿凡达建筑图拉将这条道路的其余部分设想为一种“悬空空间”。更中性的，但实际存在和材料，房间的设置从金属地板开始，并继续在从它出现在其中的一些房间的面板；在另一些房间，面板，覆盖着石膏，以创造理想的连续性表面，突出的墙壁。

The journey backwards through time arranged by the curator starts like this: visitors immediately come across the most recent works thereafter going on to find, room after room, works from the start of the twentieth century. While the entrance is characterized by a clearly recognizable architectural solution, Avatar Architettura conceived the rest of the path as a sort of “suspended space.” More neutral, but physically present and material, the setup of the rooms starts with the metallic floor and continues in the panels that emerge from it in some of the rooms; in other rooms, the panels, covered in plaster to create the ideal continuity of the surface, stand out from the walls.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

作为一个整体，展览设计倾向于定义一种感性的结构，能够通过定义视角和调整复杂的空间来建立路线，包含了一系列不同的艺术体验，直到第一批电子音乐、视觉诗歌、激进建筑和艺术电影。

As a whole the exhibition design tends to define a perceptive structure capable of establishing routes by defining perspectives and modulating the spaces of the complex, housing a diverse series of artistic experiences, up to the first electronic music, visual poetry, radical architecture and art films.

 First Floor Plan

一层平面图

过去十年的不同经验使“阿凡达大主教”的多才多艺和多学科研究倾向于公共空间的设计、布景和博物馆设计项目，以及装置和家具元素的制作，这些设施和装饰元素，除其他外，以新的敏感性诠释了40多年前在佛罗伦萨出现的最具活力的激进先锋派的精神。

Different experiences over the last ten years have brought Avatar Architettura's versatility and propensity for multidisciplinary research into play with the design of public spaces, set and museum design projects, and the production of installations and furnishing elements that interpret, among other things and with renewed sensitivity, the spirit of the radical avant-garde which had one of its most vibrant emergences in Florence over 40 years ago.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

佛罗伦萨二十世纪博物馆的项目是由他们的经验的多样性所驱动的。在这里，尼古拉·桑蒂尼(Nicola Santini)和皮尔·保罗·塔德迪(Pier Paolo Taddei)的建筑公司，特别是在乌菲齐画廊(Uffizi Art)或佛罗伦萨的洛贾·迪伊·兰兹(Loggia Dei Lanzi)创作的作品中，表现出的专业精神充满了“阿凡达建筑事务所”(Avatar Architettura)所带来的实验性态度，比如为威尼斯双年展举办的展览。

The project for the Museum of the Twentieth Century in Florence is driven by the heterogeneity of their experiences. Here the professionalism that Nicola Santini and Pier Paolo Taddei's architecture firm has acquired along the way, in particular during the works produced in the Uffizi Gallery or in the Loggia dei Lanzi in Florence, is imbued with the experimental attitude with which Avatar Architettura has given rise to a long list of successful initiatives, such as the exhibitions set up for the Venice Biennale.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

阿凡达在其最新的辉煌项目中，在临时设施的轻微挑衅和严格的博物馆系统的坚实一致性之间找到了一个平衡点，阿凡达·阿希特图拉利用了伴随着上个世纪艺术创作的丰富的主题和作品。

In its latest brilliant project, finding a balance between the slight provocation of a temporary installation and the solid consistency of a strict museum system, Avatar Architettura capitalizes on the richness of the themes and works that accompanied the artistic production of the last century.