© Odile Decq - G. Fessy

C.Odile Decq-G.Fessy

架构师提供的文本描述。罗马当代艺术博物馆的高光屋顶是奥迪尔·德克(OdilDecq)设想的，它是一座将19世纪末的环境与当代艺术的奥秘联系在一起的长廊。她的设计加冕于现有的建筑，旧的Peroni啤酒厂，屋顶露台，让游客有机会从一个新的角度去参观这座城市。

Text description provided by the architects. The high-gloss roof of Rome’s Museum of Contemporary Art was conceived by Odile Decq as a promenade linking the late 19th-century surroundings to the enigma of presentday art. Her design crowns the existing building, the old Peroni beer brewery, with a roof terrace that gives visitors the chance to see the city from a new viewpoint.

 © Odile Decq - G. Fessy

C.Odile Decq-G.Fessy

博物馆的主要颜色是黑色-德克最喜欢的颜色。在餐厅里，黑暗的表面形成了一个阴暗的环境，由箭头状吊灯(“标枪”)和台灯(“马兰佩”)投射下来的大量光线照亮。这两款由Luceplan公司生产，都是由Decq公司专门为宏设计的。

The museum’s dominant colour is black – Decq’s favourite. In the restaurant, dark surfaces make a shadowy setting that is illuminated by swathes of light projecting down from arrow-like hanging lamps (“Javelot”) and table lamps (“Ma Lampe”). Both models, produced by Luceplan, were designed by Decq especially for the MACRO.

 Ground Floor Plan

我认为，首先要把这些作品看作是对质量漠不关心的背景和对现实的实验方法的优秀文化抵制形式。它们也应被视为不可阻挡的信号，即在意大利，“这是可以做到的”，即城市场所可以作为今天想象公共空间的一种不同和有问题的方式的承载者。宏观是未来几年需要调查和理解的具体例子之一。我之所以这样说，是因为我很高兴地认为，评论家和杂志可以时不时地回到他们出生时就庆祝过的地方，或许可以与设计他们的建筑师一起访问他们。这将让我们了解真实的生活和人们是如何居住，改变，甚至是质疑建筑的工作，这改变了一个城市的特定部分的命运。

I think it is important to look at these works firstly as outstanding forms of cultural resistance to a background of indifference regarding quality and an experimental approach to reality. They should also be treated as inexorable signals that in Italy, too, “it can be done”, i.e. that urban places can be generated as bearers of a different and problematic way of imagining public space today. The MACRO is one of these concrete examples to be surveyed and understood over the coming years. I say this because it would be gratifying to think that, every now and again, critics and magazines can afford to return to places that were celebrated at their birth, perhaps visiting them with the architect who designed them. This would allow us to check out how real life and people have inhabited, transformed and maybe even disputed the work of architecture which changed the fate of that particular part of a city.

 © Odile Decq - L. Filetici

Odile Decq-L.Filetici

我喜欢把宏观看作是一个兑现的承诺，一个只想让日常生活下来并被讨论的地方。宏始终是一部批判性的、成功的问题作品。它体现了这位女士“穿着黑色”的不修边幅的才华，奥迪尔·德克先生，同时也是一项宣言-以一种公开想象当代艺术空间的方式，这也将是罗马市中心一个重要的城市碎片。我不认为任何人在这样一个古城的柔软和分层的腹部工作是不容易的。玩记忆，炫目的图像，积累的物质，或视觉，文学和感官的参考，即使是像德克这样才能和概念丰富的建筑师来说，总是有风险的。总有想说太多，屈服于自传体自恋的危险，这种自恋甚至会破坏最好的设计。

I like to look at the MACRO as a promise fulfilled, a place that just wants everyday life to let it live and be discussed. The MACRO has always presented itself as a critical and successfully problematical work. It is an expression of the restless talents of the lady “in black”, M.me Odile Decq, but also the manifesto-project for a way of openly imagining a contemporary art space that would also be a vital urban fragment in the heart of Rome. I don’t think it is easy for anybody to work in the soft and stratified belly of such an ancient city. It is always risky to play with memories, dazzling images, accumulated matter, or visual, literary and sensual references, even for an architect of such talent and conceptual richness as Decq. There is always the danger of wanting to say too much and succumbing to an autobiographical narcissism that can undermine even the best of designs.

 Level -4.5m

级别-4.5m

但新的宏观政策不仅给人留下了这样一种印象，即这是一部经得起长期实现的作品。最重要的是，这个新的当代城市齿轮可以提供一个丰富和多方面的空间体验系统，超越了仅仅展示现代和当代艺术的系统。将整个博物馆系统维持为一个不稳定的有机体的决心，被一个不断变化的观点、走道、路线和栏杆阳台所强化，使这个宏观的城市地方成为一个内向的城市，主要是游客的一种发现体验。

But the new MACRO not only gives the impression of being a work that has weathered the long years of its realisation. Above all, this new contemporary urban cog can offer a rich and multifaceted system of spatial experiences that reach beyond the mere system of displaying modern and contemporary art. The determination to maintain the whole museum system as an unstable organism, stiffened by a restless grid of viewpoints, walkways, routes and railed balconies, makes the MACRO an introverted urban place that is primarily an experience of discovery for the visitor.

 © Odile Decq - L. Filetici

Odile Decq-L.Filetici

通往屋顶的长而悬空的人行道，也是大型展厅上方的观景台。这座新建筑又使宏观建筑增加了10 000平方米，分为艺术空间(展览、活动和视频放映)和娱乐和学习空间(餐厅、咖啡馆、书店、阅览室和演讲厅)。

The long, suspended walkway leading to the roof also works as an observation deck over the large exposition hall. This new building has given the MACRO an additional 10,000 square metres, divided into space for art (exhibitions, events and video projections) and space for recreation and study (restaurant, cafe, book shop, reading room and lecture halls).

 © Odile Decq - L. Filetici

Odile Decq-L.Filetici

入口处立即说明了穿过房间和公共区域通往屋顶花园餐厅的丰富路线，在那里，城市突然展现出其所有的辉煌。博物馆首先成为一个可能体验的地方，它是一个巨大的迷宫，它将视野的角度相乘，并提供图像作为我们传统观点的替代。前珀罗尼啤酒厂终于打开了栅栏，让这座城市进入了新博物馆，里面的角度和视野打开了正面，新的屋顶表明了它改变了的用途，它的少数而有力的当代材料与精心修复的过去进行了对话。而不是一个木乃伊的工业图标，其结果是一个非常活跃的当代建筑作品，开放和准备有人居住。

The entrance immediately states this wealth of routes leading through the rooms and public areas to the roofgarden- restaurant, where the city is suddenly revealed in all its splendour. The museum firstly becomes a place of possible experience, a generous labyrinth multiplying the angles of vision and offering images as alternatives to our traditional viewpoints. The former Peroni brewery has finally opened its fences and let the city into the new museum, with its inward angles and views opening onto the facade, its new roof indicating its changed purpose, and its few and forceful contemporary materials in a dialogue with a carefully restored past. Rather than a mummified industrial icon, the result is a very lively work of contemporary architecture, open and ready to be inhabited.

Architects Studio Odile Decq

Location Piazza Orazio Giustiniani, 4, 00153 Rome, Italy

Category Museum

Area 12000.0 sqm

Project Year 2007

Photographs Odile Decq - L. Filetici, Odile Decq - G. Fessy