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[PDF] Press release: Inner glow

[PDF] Press release: Inner glow



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PR_ZT-Museo_del_Novecento_EN.pdf Document Transcript

  • 1. Press releaseDornbirn, August 2011Inner glowMuseo del Novecento in MilanB1 I The exhibition areas are accessible via large illuminated door frames. The portals of light are createdusing planar light modules – an elegant way to direct visitors to the different rooms, as shown here in theentrance hall.Despite its prominent position only a stone‘s for its extensive collection of 20th century Ita-throw away from the Cathedral, the somewhat lian art. The competition for the conversion offorbidding Palazzo dell´Arengario was not real- the premises formerly used as office and ex-ly a feature that was high in the public aware- hibition space to the ‚Museo del Novecento‘,ness over the past decades. The construction which also includes a long rear wing and theof the Palazzo was commenced at the end of second floor of the Palazzo Reale, was won bythe 1930s using the typical monumental design a group of designers under the direction of thelanguage of that period. It was finally completed Milanese architect and designer, Italo Rota. Hismuch later, in the 1950s. With their striking mo- design connects the existing buildings to formnumental round arches, the two cube-shaped a very stimulating museum: by integrating thefront buildings make up an imposing urban fea- architectural remains of former times and sup-ture. The City of Milan recognised the potential plementing these with contemporary interven-of these centrally located premises as a home tions, the design opens the museum to the city.
  • 2. B2 I The exhibition areas are accessible via large illu- B3 I Walls and floors in uniform base colours createminated door frames. The portals of light are created a calm background for the works of art. The lumi-using planar light modules – an elegant way to direct nous ceiling Cielos provides a pleasantly diffuse andvisitors to the different rooms, as shown here in the homogeneous illumination of the rooms.entrance hall.Although the façade was hardly changed – doors and emphasise the passages to the in-apart from glazing the walled-up round arch troverted gallery rooms. The main room of thewindows in the middle storey – the tower-like piano nobile surprises with monumental marblefront building on the Piazza del Duomo looks columns and a richly decorated ceiling. It is de-like a transparent shell at night, appearing dicated to Futurists such as Umberto Boccioniback-lit and permitting glimpses of its new inner and his contemporaries. The smaller exhibitionlife. Entrance ramp and café are visible behind a rooms of the Arengario wing were completelylarge glazed area, with Lucio Fontana‘s lighting redecorated. „Our aim was to create a peacefulinstallation ‚Struttura al neon‘ above shining all atmosphere with soft, neutral colours and ho-the way out on to the Piazza del Duomo. The mogeneous lighting – the works of art are thebuilding was extensively gutted to achieve this stars here, after all,“ explains Alessandro Ped-new openness and reorganised into freely ac- retti, the architect at Studio Italo Rota respon-cessible areas. A dynamic, spiral-shaped ramp sible for the interior and lighting design of thisscrews itself upwards around a central rein- project. Walls and floors are tone in tone; newforced concrete core, leading visitors from the presentation areas and columns designed bymuseum‘s own subway access to the exhibiti- the architects are integrated in elegantly subdu-on areas via an aquamarine-coloured walkway. ed white and grey tones. An even, diffuse basicThe glass façade encasing the ramp permits a illumination is achieved with a Cielos luminousview into and out of the building, which – similar ceiling. Depending on the layout of the room,to a film sequence – changes with every step. the modules are arranged as linear light bandsThis progression is emphasised by the illumina- or as squares. The homogeneous illuminationtion points used in the lighting concept of the of the rooms is controlled using the central ligh-ramp, accentuating the spatial effect and light- ting management system Luxmate Litenet. Theness of this architectural statement. The light luminous ceilings in the galleries are contrastedpoints follow the curves in two different ways: by the vertical light lines integrated flush into thedownlights integrated in the ceiling trace the walls, which serve to illuminate the access are-route and illuminate the ramp area, while small as.LED spots on the balustrade emanate blue-green light inwards. The spiral is turned into a The various exhibition levels are connected byluminous object – a representation of 20th cen- means of escalators located in a new buildingtury modernity almost suggestively attracting part at the end of the Arengario wing. The poin-passers. ted arch windows of the Palazzo Reale are dis- concertingly close through the completely gla-Light is also an important design element used zed façade in this area. The topmost floor of theat the interfaces of the various different areas Arengario tower accommodates a light-floodedof the museum. The entrances to the exhibition room with works by Lucio Fontana and a fan-rooms can for example be identified as ‚portals tastic panorama of the Piazza del Duomo. Im-of light‘: light modules cover the frames of the pressive views of the surrounding area can also
  • 3. B4 I A spiral-shaped ramp screws itself upwards through the middle of the museum. LED spot- lights integrated in the ceiling and handrail trans- form the spiral into a fascinating light object.Project information Museo del Novecento, Milan/IClient: Comune di Milano, Milan/IArchitecture: Italo Rota, Fabio Fornasari, Milan/IElectrical installation: Cooperativa Cellini Impianti Tecnologici, Prato/ICompetition and execution: Gruppo Rota: Italo Rota, Fabio Fornasari, Emmanuele Auxilia, Paolo MontanariInterior and lighting design: Alessandro Perdetti, Milan/ILighting solution: Zumtobel PANOS INFINITY LED downlight, special LED spots, HEDERA LED luminaire, CIELOS modular lighting system, LINARIA light line, SCUBA moisture-proof luminaire, PERLUCE louvre luminaire, LUXMATE LITENET lighting management system, ARTSIGN and COMSIGN escape sign luminaires
  • 4. be obtained from the lofty height of the new is achieved by the conscious integration of stillglass connection bridge leading to the Palazzo life images of the city – with architecture fromReale. The presence of these urban images is various centuries, from Gothic cathedral toeven carried into the introverted exhibition gal- contemporary bank building – throughout theleries: such as the Madonnina statue on the ca- museum. A stony witness of the Duce years,thedral tower looking in through the glass roof the converted Palazzo dell´Arengario can nowof a small side cabinet. A tour of the collection make a new contribution to the historic fabric ofof 400 works of art ranging from Futurism to the city, connecting old to new in the illumina-Arte Povera is complemented by a walk through ted entity of the Museo del Novecento.the history of the city. This parallel experienceB6 I The luminous ceilings Cielos are arranged insquares or in the form of linear light bands, depen-ding on the room structure. The lighting manage-ment system Luxmate Litenet ensures optimal andefficient utilisation of lighting. B5 I An escalator leads from the second floor exhibition rooms to the uppermost room in the Arengario tower, where Lucio Fontana‘s works are exhibited. Room-high glazing allows visitors to enjoy fantastic views of the surrounding buildings. More information: Zumtobel Lighting GmbH Nadja Frank PR Manager Schweizer Straße 30 A - 6850 Dornbirn Tel. +43 (0)5572 390 - 1303 Fax +43 (0)5572 390 - 91303 nadja.frank@zumtobel.com www.zumtobel.comPublication is free if due acknowledgement is made: Zumtobel