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  1. 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. 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. 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. 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 www.zumtobel.comPublication is free if due acknowledgement is made: Zumtobel