Located in the former entrance hall of Milan’s Pinacoteca di Brera, the city’s foremost picture gallery, home to one of the leading collections of Italian paintings in the world, Caffè Fernanda welcomes the museum’s guests in a revamped space that embodies the institution’s venerable legacy and drive for renewal. Taking its name from the Pinacoteca’s visionary former director, Fernanda Wittgens, who managed to re-open the gallery following its partial destruction during World War II, the café is part of a larger, 3-year project entailing the redesign of the gallery and its art collection, designed by Milanese architecture practice rgastudio to echo - both aesthetically and in terms of curation - the renovated gallery rooms. Built in the 17th century by baroque architect Francesco Maria Richin on the remains of a monastery, Palazzo Brera was initially a Jesuit college before becoming (in 1773) home to a number of the city’s leading cultural and scientific institutions, including the Accademia di Belle Arti, a national library, an art school, an observatory and a botanical garden. Pinacoteca di Brera was founded by Napoleon a few decades later in 1809 to house the most important works of art from the Italian territories he had conquered. During that time the Palazzo was remodeled in the neoclassical style by Giuseppe Piermarini, one of Italy’s leading Neoclassical architects, before being heavily damaged in 1943 during aerial bombings. It took its determined director, Fernanda Wittgens, and talented architect, Piero Portaluppi, for the museum to reopen in 1950, both of whom the new café pays tribute to.

卡夫·费尔南达(CaffèFernanda)位于米兰的皮纳科卡·迪布雷拉(Pinaco Teca Di Brera)的前入口处，这里是该市最重要的画展之一，也是世界上最重要的意大利绘画收藏之一。卡夫·费尔南达(CaffèFernanda)在经过改造后的空间里接待了博物馆的这座咖啡厅取名于皮纳科蒂卡的富有远见的前导演费尔南达·维特根斯(Fernanda Wittgen)，二战期间，维特根斯画廊遭到部分破坏，他成功地重新开放了这家画廊。这家咖啡厅是一个规模更大、历时3年的项目的一部分，该项目需要重新设计画廊及其艺术收藏，由米兰建筑实践中心设计，在美学上和在艺术上都能回音-翻新后的画廊房间。17世纪，巴洛克建筑师弗朗西斯科·玛丽亚·里金(Francesco Maria Richin)在一座修道院的遗迹上建造了帕拉佐·布列拉(Palazzo Brera)，最初是耶稣会学院，后来(1773年)成为该市一些领先的文化和科学机构的所在地，其中包括国家图书馆、艺术学校、天文台和植物园。几十年后，拿破仑在1809年创立了皮纳科蒂卡·迪布雷拉，为他征服的意大利领土上最重要的艺术品提供场所。在此期间，新古典主义风格的帕拉佐由意大利主要的新古典建筑师朱塞佩·皮尔马里尼(Giuseppe Piermarini)重新装修，1943年在空中轰炸期间遭到严重破坏。该馆的执导费南达·维特根斯(Fernanda Wittgen)和天才建筑师皮耶罗·波尔塔鲁皮(Piero Portalupi)在1950年重新开放了博物馆，这两家新咖啡馆都向他们致敬。

Photo by Michele Nastasi.

图片来源于Michele Nastasi。

'Nym' chair - 'Inox round' table (foreground), 'Jazz' chair, 'Modus' modular sofa - 'Inox square' table (background), all by Pedrali. Photo by Michele Nastasi.

“NYM”椅子

Pietro Damini's expansive 17th century painting of ‘St. Bernard Converting the Duke of Aquitania’. 'Nym' chair and 'Inox round' table (foreground) by Pedrali. Photo by Michele Nastasi.

皮埃特罗·达米尼(PietroDamini)17世纪的“圣·伯纳德皈依阿基塔尼亚公爵”(St.‘Nym’椅子和Inox圆桌(前景)由佩德拉利。图片来源于Michele Nastasi。

The café’s interior design is based on a fine balance between the grandeur of the neoclassical architecture, the 1950s aesthetic of the post-war renovation, and a contemporary approach to art curation, spearheaded by the museum’s current modernizing director, James Bradburne, whose mission is to boost visitors’ engagement rather than visitor numbers. In fact, the space has been designed more as a gallery and less than a conventional café, with several artworks taking centre stage. Pietro Damini's expansive 17th century painting of ‘St. Bernard Converting the Duke of Aquitania’ majestically hangs above the bar, while Bertel Thorvaldsen's 4-metre high monument to the painter Andrea Appiani, which depicts in relief the Cupid and the Three Graces, dominates the other side of the space, its white marble seductively standing out against the deep petrol blue of the walls. Smaller in size but as enticing is the bust of Fernanda Wittgens by Marino Marini along with her portrait by Attilio Rossi.

这家咖啡厅的室内设计是建立在新古典主义建筑的宏伟壮丽、20世纪50年代战后装修的美学与当代艺术策展人(由博物馆现任现代化馆长詹姆斯·布拉德伯恩(James Bradburne)领导的当代艺术策划方法之间的微妙平衡之上的。布拉德伯恩的使命是提高游客的参与度，而不是游客人数。事实上，这个空间更多的是作为画廊设计的，而不是传统的咖啡馆，几件艺术品占据了舞台的中心。17世纪，皮埃特罗·达米尼(Pietro Damini)的宏伟画作“圣·伯纳德改造阿基塔尼亚公爵”(St.Bernard转化法)雄伟地悬挂在吧台上方，而伯特尔·索瓦尔德森(Bertel Thorvaldsen)为画家安德里亚·阿皮亚尼(Andrea Appiani)设计的4米高的纪念碑，以浮雕的形式描绘了丘比特和三个盖瑞斯(Graces)的形象。这幅画在空间的另一边占据尺寸较小但同样诱人的是马里诺·马里尼的弗南达·维特根斯的半身像和阿蒂里奥·罗西的肖像。

Photo by Michele Nastasi.

图片来源于Michele Nastasi。

Bertel Thorvaldsen's marble monument to the painter Andrea Appiani depicting Cupid and the Three Graces (right), portrait of Fernanda Wittgens by Attilio Rossi (left). 'Nemea' armchair and 'Inox square' table by Pedrali. Photo by Michele Nastasi.

伯特尔托瓦尔德森的大理石纪念碑的画家安德里亚阿皮亚尼描绘丘比特和三个梯度(右)，弗南达维特根斯的画像阿蒂利奥罗西(左)。‘Nemea’扶手椅和‘Inox正方形’桌由佩德拉利。图片来源于Michele Nastasi。

Photo by Michele Nastasi. Above the bar is Pietro Damini's expansive 17th century painting of ‘St. Bernard Converting the Duke of Aquitania’

图片来源于Michele Nastasi。吧台上方是皮埃特罗·达米尼(Pietro Damini)17世纪的“圣伯纳德皈依阿基塔尼亚公爵”(St.

'Jazz' armchair by Pedrali. Photo by Michele Nastasi.

佩德拉利的“爵士”扶手椅。图片来源于Michele Nastasi。

Bust of Fernanda Wittgens by Marino Marini. 'Jazz' armchair, 'Modus'modular sofa, and 'Inox square' table, all by Pedrali. Photo by Michele Nastasi.

MariniMarini的FernandaWittens的胸围。“Jazz”扶手椅，“工作式”模块化沙发，和“inoxsquare”桌，都是佩德拉利的照片，米歇尔·纳斯塔西（MicheleNastasi）。

Besides perfectly complimenting the artworks on display, the rich blue colour of the walls has been selected as a harmonious counterpart to the warm hues of the gallery rooms, as well as the peach-blossom marble floors and the Lepanto-red marble door frames, both prominent features of Portaluppi's postwar design that have been left intact. It also makes for a great backdrop for the antique-brass and canaletto walnut bar counter whose design evokes the ribbed wooden furniture from the 1950s. The counter’s extremely thin brass top is picked up by the slender shelving set against a large mirror that evocatively reflects the artworks on the opposite side of the room amid the glowing bottles. Brass and walnut are also featured in the café’s elegant square and round tables by Pedrali, while the modernist armchairs, also by Pedrali, combine brass with soft pink upholstery that accentuates the colours of the marble surfaces. The pink armchairs are the perfect spot to sit to admire Marini’s bust of Fernanda Wittgens while the tables by the bar offer good views of both Rossi's portrait and Francesco Hayez's famous Kiss, which is located in the final room of the Pinacoteca, further solidifying the fact that the café has been designed as an integral part of the museum itself.

除了完美地称赞展出的艺术品外，墙壁的丰富蓝色被选为画廊房间温暖色调的和谐对应物，以及桃花大理石地板和勒潘托红大理石门框，这两种风格都是波尔塔鲁皮战后设计的显著特色，都完好无损。这也是一个伟大的背景古董黄铜和卡纳莱托核桃酒吧柜台，其设计唤起了20世纪50年代的带肋木制家具。柜台极薄的黄铜顶部是由细长的架子对着一面大镜子拾起的，这面镜子让人联想到房间另一边的艺术品在发光的瓶子中的反光。咖啡厅的正方形和圆桌上也有铜和核桃的特色，而现代派的扶手椅(也是佩德拉利的扶手椅)将黄铜与柔和的粉红色装饰结合在一起，突出了大理石表面的颜色。粉色扶手椅是欣赏马里尼(Marini)弗南达·维特根斯(Fernanda Wittgen)半身像的最佳地点，而吧台旁的桌子则能很好地欣赏罗西的肖像和弗朗西斯科·海兹(Francesco Hayez)的著名吻(Kiss)，后者位于皮那科特卡的最后一个房间。这进一步巩固了这样一个事实，那就是咖啡厅被设计成博物馆本身不可分割的一部分。

Bertel Thorvaldsen's marble monument to the painter Andrea Appiani (right) and a portrait of Fernanda Wittgens by Attilio Rossi (left). 'Nemea' - 'Nym' armchairs, 'Inox square' - 'Inox round' table, all by Pedrali. Photo by Michele Nastasi.

伯特尔·索瓦尔德森(Bertel Thorvaldsen)为画家安德里亚·阿皮亚尼(右)设计的大理石纪念碑和阿蒂利奥·罗西(Attilo Rossi)的费尔南达·维特根斯(‘Nemea’

Photo by Michele Nastasi.

图片来源于Michele Nastasi。

Photo by Michele Nastasi.

图片来源于Michele Nastasi。

Photo by Michele Nastasi. On the left Francesco Hayez's 'Kiss'.

图片来源于Michele Nastasi。左边是弗朗西斯科·海耶兹的“吻”。

'Nolita' chair and 'Nolita' table by Pedrali. Photo by Michele Nastasi.

Petrali的*Nolita*主席和*Nolita*表。米歇尔·纳斯塔西（MicheleNastasi）的照片。

keywords:Café Design Interior Design 

关键词：咖啡厅设计室内设计