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دوموزه
1. ﺩﺭﺟﻬﺎﻥ
TWO MUSEUMS ﺩﻭﻣﻮﺯﻩ
Habibeh Madjdabadi ﺣﺒﻴﺒﻪ ﻣﺠﺪﺁﺑﺎﺩﻯ
ﺍﺯ ﭘﻴﺪﺍﻳﺶ ﺍﻭﻟﻴﻦ ﻣﻮﺯﻩﻫﺎـ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﺑﺨﺸﻲ ﺍﺯ ﺧﺎﻧﻪﻫﺎﻱ ﻣﺠﻤﻮﻋﻪﺩﺍﺭﺍﻥ ﺑﻮﺩﻧﺪـ
MAXXI Museum, Zaha Hadid, 2010: Upon entering the precinct
of the museum, I thought I have approached the wrong building, ﺗﺎ ﺍﻣﺮﻭﺯ ﻛﻪ ﻣﻮﺯﻩﻫﺎﻯ ﺗﺨﺼﺼﻰ ﺳﺎﺧﺘﻪ ﻣﻰﺷﻮﻧﺪ ﺑﺮﻧﺎﻣﺔ ﺁﻥﻫﺎ ﺩﺍﺋﻤﺎً ﺩﺭ ﺣﺎﻝ
for I had always seen in architectural books a bird-eye view which :ﺗﻐﻴﻴﺮ ﺑﻮﺩﻩ ﺍﺳﺖ. ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺑﻦ ﻭﻥ ﺑﺮﻛﻞ ﺩﺭ ﻛﺘﺎﺏ ﻣﻮﺯﺓ ﺑﻨﺰ ﻣﻰﮔﻮﻳﺪ
naturally has nothing in common with that from visitors’ eyelevel.
The reason for presenting the building from a bird-eye view is to »ﻣﺮﺩﻡ ﺩﻳﮕﺮ ﺗﻤﺎﻳﻠﻰ ﺑﻪ ﺩﻳﺪﻥ ﻣﻮﺯﻩﻫﺎﻯ ﻋﻤﻮﻣﻰ ﻛﻪ ﺷﺒﻴﻪ ﺍﻧﺒﺎﺭﻫﺎﻯ ﻗﺪﻳﻤﻰﺍﻧﺪ ﻭ
demonstrate its connection with the environment, a fact that can- ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺁﻥﻫﺎ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ، ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﻴﺸﺘﺮ ﺟﺬﺏ ﻣﻮﺯﻩﻫﺎﻳﻰ ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ
not be explained otherwise. When you are in the real location in 1.«ﻣﺸﺨﺺ ﻣﻰﺷﻮﻧﺪ
front of the building you do not realize such connection. The main
reason behind the construction of this museum, also emphasized ﺍﺧﻴﺮﺍ ً ﺩﺭ ﺳﻔﺮﻯ ﺍﺯ ﭼﻨﺪ ﻣﻮﺯﻩ ﺑﺎ ﻣﻮﺿﻮﻉ ﺧﺎﺹ ﻛﻪ ﺩﺭ ﺩﻫﺔ ﺍﺧﻴﺮ ﺳﺎﺧﺘﻪ
the initial brief for the project, was to connect it to the city and ﺷﺪﻩﺍﻧﺪ، ﺑﺎﺯﺩﻳﺪ ﻛﺮﺩﻡ. ﺍﻳﻦ ﻣﻮﺯﻩﻫﺎ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺩﻭ ﮔﺮﻭﻩ ﻫﻨﺮ ﻣﻌﺎﺻﺮ ﻭ ﻣﻮﺯﻩﻫﺎﻯ
according to Zaha Hadid herself, to allow the city to penetrate
2ﺷﺮﻛﺖﻫﺎﻯ ﺧﻮﺩﺭﻭﺳﺎﺯﻯ ﺩﺳﺘﻪﺑﻨﺪﻯ ﻛﺮﺩ. ﻣﻮﺯﻩﻫﺎﻯ ﻫﻨﺮ ﻣﻌﺎﺻﺮ ﻣﺜﻞ ﻣﺎﻛﺴﻰ
the museum and vice versa. However, the relatively vast area in
front of the museum functioning as a common courtyard for the ﺩﺭ ﺭﻡ، ﺑﺮﺍﻧﺪﺯﻫﻮﺭﺳﺖ3 ﺩﺭ ﻣﻮﻧﻴﺦ، ﻭ ﻛﻮﻧﺴﺖ4 ﺩﺭ ﺍﺷﺘﻮﺗﮕﺎﺭﺕ، ﻭ ﻣﻮﺯﻩﻫﺎﻯ
museum and the residential context does not enjoy the liveliness
and dynamism of an urban space and is devoid of the joy and ex- ،7ﺗﺨﺼﺼﻰ ﺷﺮﻛﺖﻫﺎﻯ ﺧﻮﺩﺭﻭﺳﺎﺯﻯ ﻣﺜﻞ ﺑﻰ. ﺍﻡ. ﻭ5، ﭘﻮﺭﺷﻪ6 ﻭ ﻣﺮﺳﺪﺱ ﺑﻨﺰ
citement of George Pompidou Museum. Not all this is the fault of ﻛﻪ ﺑﻴﻦ ﺳﺎﻝﻫﺎﻯ 6002 ﺗﺎ 0102 ﺩﺭ ﺷﻬﺮﻫﺎﻯ ﻣﻮﻧﻴﺦ ﻭ ﺍﺷﺘﻮﺗﮕﺎﺭﺕ ﺳﺎﺧﺘﻪ
architecture. The quality of the relationship between the museum
and the city very much depends on the function of the surrounding
ِﺷﺪﻩﺍﻧﺪ. ﺩﺭ ﻧﮕﺎﻩ ﻛﻠﻰ ﺳﺎﺧﺘﻤﺎﻥ ﻫﻤﺔ ﺍﻳﻦ ﻣﻮﺯﻩﻫﺎ ﺍﺯ ﻧﻈﺮ ﻣﻌﻤﺎﺭﻯ ﻭ ﺗﻜﻨﻮﻟﻮژﻯ
urban texture which is, in this case, a calm one. However, MAXXI ﺳﺎﺧﺖ ﺟﺬﺍﺏ ﻭ ﭘﻴﺸﺮﻓﺘﻪﺍﻧﺪ، ﺍﻣﺎ ﺍﻳﻦ ﺟﺬﺍﺑﻴﺖ ﺩﺭ ﻣﻮﺍﺭﺩﻯ ﻣﺎﻧﻨﺪ ﺑﺮﺍﻧﺪﺯﻫﻮﺭﺳﺖ
Museum is a closed and introverted building with regards to its ﻣﺮﺑﻮﻁ ﺑﻪ ﻧﻤﺎﻯ ﺳﺮﺍﻣﻴﻜﻰ ﺭﻧﮕﺎﺭﻧﮓ ﻭ ﺩﺭ ﻣﻮﺯﺓ ﭘﻮﺭﺷﻪ ﻭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﻰ. ﺍﻡ.ﻭ ﻧﺎﺷﻲ
architecture and one cannot expect it to establish much relation
with its surroundings. ﺍﺯ ﺗﺮﻛﻴﺐ ﺣﺠﻢﻫﺎﻱ ﺧﺎﺭﺟﻰ ﺍﺳﺖ ﻭ ﻛﻤﺘﺮ ﺑﻪ ﻃﺮﺡ ﺍﻳﺪﻩﻫﺎﻯ ﻓﻀﺎﻳﻰ ﻧﻮ ﻣﺮﺑﻮﻁ
Nevertheless, the architectural concepts applied for the ﻣﻰﺷﻮﺩ )ﺗﺼﻮﻳﺮ 1(. ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻦ ﻣﻮﺯﻩﻫﺎ، ﺗﻨﻬﺎ ﻣﻮﺯﺓ ﻣﺎﻛﺴﻰ ﺯﺍﻫﺎ ﺣﺪﻳﺪ ﻭ ﻣﻮﺯﺓ
interior space is intriguing. What catch the eye upon entering the
museum are different layers of ramps and stairs flying above your ﻣﺮﺳﺪﺱ ﺑﻨﺰ ﻛﺎﺭ ﺑﻦ ﻭﻥ ﺑﺮﻛﻞ ﺑﺤﺚﻫﺎﻯ ﻓﻀﺎﻳﻰ ﺟﺪﻳﺪﻯ ﺩﺭ ﻓﻀﺎﻯ ﺩﺍﺧﻠﻰ
head in the entrance demonstrating the complicated dynamism ﻣﻄﺮﺡ ﻣﻰﻛﻨﻨﺪ. ﺍﻳﻦ ﺩﻭ ﭘﺮﻭژﻩ ﻭ ﺑﻪﻭﻳﮋﻩ ﻛﺎﺭ ﺑﻦ ﻭﻥ ﺑﺮﻛﻞ ﺩﺭ ﺍﺷﺘﻮﺗﮕﺎﺭﺕ ﺍﺯ ﻧﻈﺮ
of spatial relations. The experience of passing through pathways
resembling continuous ribbons sliding on top of one another in
ﺭﻭﺍﺑﻂ ﻓﻀﺎﻳﻰ ﻭ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺑﺴﻴﺎﺭ ﭘﻴﭽﻴﺪﻩﺗﺮ ﻭ ﭘﻴﺸﺮﻓﺘﻪﺗﺮ ﺍﺯ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻗﺒﻞ
different levels is similar to penetrating different geological layers. .ﺍﺯ ﺧﻮﺩ ﻣﺜﻞ ﮔﻮﮔﻨﻬﺎﻳﻢ ﺭﺍﻳﺖ، ﻭ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﻭ ﻗﺎﺑﻞ ﺑﺮﺭﺳﻰ ﺍﺳﺖ
The entrance hall is lofty and the surrounding walls are flawlessly
executed made out of seamless concrete up to their highest point.
The building is three storeys high but constructed in more than 2010 ،ﻣﻮﺯﺓ ﻣﺎﻛﺴﻰ، ﺯﺍﻫﺎ ﺣﺪﻳﺪ
three sliding levels with vertical visual connection. Visiting the mu- 8ﻣﻮﻧﺘﻠﻮ
.ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻣﻮﺯﺓ ﻣﺎﻛﺴﻰ ﺩﺭ ﺷﻬﺮ ﺭﻡ ﻭ ﺩﺭ ﻣﺤﻞ ﭘﻴﺸﻴﻦ ﺳﺮﺑﺎﺯﺧﺎﻧﻪ
seum starts form ticket counter on the ground floor. This section
is connected to the old part of the Montello building. When facing ﺑﺨﺸﻰ ﺍﺯ ﺳﺮﺑﺎﺯﺧﺎﻧﻪ، ﻛﻪ ﺳﺎﺧﺘﻤﺎﻧﻰ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻭﺍﻳﻞ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﺍﺳﺖ، ﺑﺎﺯﺳﺎﺯﻯ
the first gallery, the door on the left hand side of the entrance ﻭ ﺑﻪ ﺳﺎﻟﻦ ﻣﻮﺯﻩ ﺍﻟﺤﺎﻕ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺳﺎﻳﺮ ﻗﺴﻤﺖﻫﺎ ﻛﻪ ﺑﻪﺷﻜﻞ ﺳﻮﻟﻪ ﺑﻮﺩﻩ
hall leads to a hall used for screening and for the talks held in
festivals. The hall ceiling is covered in linear fluorescent lights ex-
ﺗﺨﺮﻳﺐ ﺷﺪﻩﺍﻧﺪ. ﺍﻳﻦ ﻣﻮﺯﻩ ﺩﺭ ﻣﺤﻠﺔ ﻓﻼﻣﻴﻨﻴﻮﻯ ﺭﻡ9 ﺗﺄﺛﻴﺮ ﻣﻬﻤﻰ ﺑﺮ ﺷﺮﻳﺎﻥﻫﺎﻯ
tending up to back wall of the hall. The cafeteria and architectural ً
ﺷﻬﺮﻱ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ. ﺍﺭﺗﺒﺎﻁ ﺩﻭ ﺷﺮﻳﺎﻥ ﺍﺻﻠﻰ، ﻛﻪ ﻗﺒﻼ ﺑﻪﻋﻠﺖ ﻭﺟﻮﺩ
section of the museum are also located on the ground floor. The ﺳﺮﺑﺎﺯﺧﺎﻧﻪ ﻗﻄﻊ ﺷﺪﻩ ﺑﻮﺩ، ﺑﺎ ﺗﺨﺮﻳﺐ ﺳﻮﻟﻪﻫﺎ ﻭ ﺍﺟﺮﺍﻯ ﻃﺮﺡ ﺯﺍﻫﺎ ﺣﺪﻳﺪ ﺩﻭﺑﺎﺭﻩ
section for architectural images collection, located at the Montello
renovated building consists of a simple rectangular hall named ﺑﺮﻗﺮﺍﺭ ﺷﺪﻩ. ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻃﺒﻖ ﻃﺮﺡ ﺗﻮﺳﻌﺔ ﺷﻬﺮ ﺩﺭ ﺳﺎﻝ 0391 ﺩﻭ ﺷﺮﻳﺎﻥ
after Scarlo Carpa and another hall titled Claudia Gian Ferrari. In ﺍﺻﻠﻰ ﺩﺭ ﻣﺤﻮﻃﺔ ﭘﻴﺎﺩﺓ ﻣﻘﺎﺑﻞ ﻣﻮﺯﻩ ﺑﻪﻫﻢ ﻣﻲﭘﻴﻮﻧﺪﻧﺪ. ﺳﺎﺧﺘﻤﺎﻥ ﺟﺪﻳﺪ ﻣﻮﺯﻩ
this section an archive of black and white pictures of Italian mod-
ern architecture is exhibited. Gallery No. 1 located in front of these ﺍﺯ ﺧﻴﺎﺑﺎﻥ ﺍﺻﻠﻰ ﺩﻳﺪﻩ ﻧﻤﻰﺷﻮﺩ. ﺑﺎ ﻋﺒﻮﺭ ﺍﺯ ﺣﺼﺎﺭ ﺗﻮﺭﻯ ﻓﻠﺰﻯ ﻛﻪ ﻧﺎﻡ ﻣﺎﻛﺴﻰ ﺑﺎ
two galleries at the end of the ground floor is the only gallery not ﺭﻧﮓ ﺳﻴﺎﻩ ﺭﻭﻯ ﺁﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ، ﻭﺍﺭﺩ ﺣﻴﺎﻁ ﻣﻮﺯﻩ ﻣﻰﺷﻮﻳﻢ ﻭ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺘﻨﻰ
lit with daylight. Gallery No. 2 is placed on top of this gallery.
The interesting point is the circulation and how the museum is
ﻣﻮﺯﻩ ﺑﺎ ﺳﺘﻮﻥﻫﺎﻯ ﻟﻮﻟﻪﺍﻯ ﻓﻠﺰﻯ ﺩﺭ ﺳﻤﺖ ﭼﭗ ﺣﻴﺎﻁ ﻣﺜﻞ ﻣﺠﺴﻤﻪﺍﻯ ﺑﻰﺭﻭﺡ
visited and discovered distancing itself from the traditional style. .(2 ﻧﻤﺎﻳﺎﻥ ﻣﻰﺷﻮﺩ )ﺗﺼﻮﻳﺮ
In the museum guide, path selection in this museum has been ،ﺑﺎ ﻭﺭﻭﺩ ﺑﻪ ﻣﺤﻮﻃﺔ ﺧﺎﺭﺟﻰ ﻣﻮﺯﻩ، ﺗﺼﻮﺭ ﻛﺮﺩﻡ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍ ﺍﺷﺘﺒﺎﻩ ﺁﻣﺪﻩﺍﻡ
compared to that of a jungle. In it, the viewer is free to access the
five galleries and other spaces in any sequence she desires to. A ﭼﻮﻥ ﻏﺎﻟﺒﺎً ﺩﺭ ﻛﺘﺎﺏﻫﺎﻱ ﻣﻌﻤﺎﺭﻱ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍ ﺍﺯ ﺩﻳﺪ ﭘﺮﻧﺪﻩ ﺩﻳﺪﻩ ﺑﻮﺩﻡ، ﻛﻪ
staircase and lift at the end of Gallery No. 1 and another staircase ﻣﺴﻠﻤﺎً ﺑﻪ ﺩﻳﺪ ﺍﻧﺴﺎﻧﻰ ﺳﺎﺧﺘﻤﺎﻥ ﺷﺒﺎﻫﺘﻲ ﻧﺪﺍﺭﺩ. ﻋﻠﺖ ﻣﻌﺮﻓﻰ ﺍﻳﻦ ﻣﻮﺯﻩ ﺍﺯ ﺩﻳﺪ
in the main entrance void provide access to upper floors. Another
lift is located on the ground in front of Claudia Ferrari Gallery ﭘﺮﻧﺪﻩ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻱ ﻣﻌﻤﺎﺭﻯ، ﺗﻮﺿﻴﺢ ﺍﻳﺪﻩﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﻻﻳﻪﻫﺎ ﻭ ﻣﺴﻴﺮﻫﺎﻳﻰ
through which reach the last floor and the fifth gallery viewing the ﺍﺳﺖ ﻛﻪ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍ ﺩﺭ ﺩﻭ ﺟﻬﺖ ﺑﻪ ﺷﻬﺮ ﻣﺘﺼﻞ ﻣﻰﻛﻨﺪ. ﺑﻪ ﻋﻘﻴﺪﺓ ﻧﮕﺎﺭﻧﺪﻩ
90/90
2. Right to left: Brandhorst, Porsche & BMW Museums 1- ﺍﺯ ﺭﺍﺳﺖ ﺑﻪ ﭼﭗ: ﻣﻮﺯﺓ ﺑﺮﺍﻧﺪﺯ ﻫﻮﺭﺳﺖ، ﻣﻮﻧﻴﺦ؛ ﻣﻮﺯﺓ ﭘﻮﺭﺷﻪ، ﺍﺷﺘﻮﺗﮕﺎﺭﺕ؛ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﻲ. ﺍﻡ. ﻭ، ﻣﻮﻧﻴﺦ
spaces from above gradually descending through ramps and stairs. of the cars and invented engines.
Natural lighting controlled with dynamic ceiling shades is Museum galleries are defined and divided in two groups: Nar-
among the distinguishable lighting qualities of these galleries. The rative Galleries and Collection Galleries. On the wall of the gallery
system can completely darken the spaces in times needed. Sinus along the ramp, a visual history of important events, critical histori-
curves on the ceiling actually support the shades and emphasize cal periods and attractive characters of the world of art, music and
the fluid movement of paths. politics from all around the world are portrayed. Images of the world
The museum is dedicated to the art and architecture of the 20th wars, pop music stars such as the Beatles, of Churchill and Mus-
and 21st centuries. However, one can hardly concentrate on the solini, and parallel to it, the story of the success and development
exhibited artworks without paying attention to the architecture of of Benz Company and Karl Benz, Dailmer and Maybach’s family
the museum itself. In many contemporary museums the architec- pictures engage the viewer with the story influencing them with the
tural attractiveness of the building surpasses that of the exhibited failures and success of these people raising appreciation.
artworks. MAXXI is an example. In this museum the weight of Narrative Galleries are connected in different floors through
spaces where artworks are exhibited are less than spaces where ramps and Collection Galleries through another path which is a
architecture is put on display. In fact, in this project Zaha Hadid has ramp/stair path. Therefore, on each floor the viewer can reach
dedicated certain spaces with a simple architecture and neutral the next floor in two different ways and shift between Narrative
colours to exhibition of contemporary art and in other sections, and Collection galleries. The location of these galleries changes
including the entrance hall and connecting or circulation spaces, clockwise on each floor. Despite the complexity of spatial relations
demonstrates her complicated architectural style. The architecture of the galleries, these relations follow a particular order which, once
of MAXXI museum has an independent identity separate from the you have realized it, allows you to comprehend the circulation of
artworks it hosts, so that if all art objects in this museum are re- the museum. Of course this conformity of the exhibition spaces and
placed with some other it will not affect the identity of the museum. the turnings of spiral ramps surrounding them, creates the chance
for experiencing the space from different angles and from close
Mercedes Benz, UN Studio, 2006: Circulation in both museums and afar. The automobiles can be viewed separately and in detail
happens on a ramp and from top to bottom. In Guggenheim, the from close or as a collection from the above. Ben van Berkel has
ramp goes round a central void while in van Berkel’s project the avoided detached closed spaces and limited views; rather, in order
ramps move round three circular spaces and descend in the form to create open continuous spaces, he has made use of a complex
of a spiral. The position of ramps changes clockwise on each floor structural system. Galleries span 30 meters in width--comparable
as the ramp descends. This shift starts from the highest point on to a highway--without any columns. The three vertical elements
the eighth floor and is repeated on all floors down to the second are located on the sides of the central triangle, and together with
floor. façade trusses, act as main structural elements. Considering the
The museum pattern is based on a clover form with three complexity of the design, full-scale models of some parts of the
wings. As it is clear in the concept diagram the plan is made of the building playing a structural role were made prior to building con-
intersection of three circles. Their intersection creates a triangle struction.
which is the central atrium. The circular spaces of galleries resem- Another interesting point is the harmony and homogeneity of
bling a clover are arranged around the central atrium connected the interior architectural design and the lighting of the building. Cer-
through the spiral ramp. Store, exhibition and restaurant are tainly different teams have been involved in designing this project.
located in the basement connected to the parking. In projects of such a large scale, there are general regulations
Museum entrance is on the ground floor. In order to visit the for harmonizing different design teams concerned. For instance,
museum you must use one of the three lifts located in the central in the case of this building, the colour and textures of the interior
atrium to go up to the eighth floor. It is as if you have got into a space are specifically defined. The use of lively colours is limited to
time machine and go back to the time of the invention of the first spaces that are less seen, spaces such as lifts, toilets and exists.
motor car. As the lift stops at the eighth floor you hear horse hoof In main spaces neutral colours are used so as to attract more at-
beats and enter a hall at the centre of the building on top of the tention to automobiles. The use of texture is also limited to different
central atrium. In the middle of the hall you see a stuffed horse combinations of circles with different diameters. Textures of fine
under which a sentence by King Wilhelm II is written: ‘I do believe dots and small or large circles are visible in the flooring or the ceil-
in the horse. The automobile is no more than a transitory phenom- ings, in the arrangement of lamps or the choice of lamp forms.
enon.’ The rest of the scenario is a response to this sentence. An Most definitely, Mercedes Benz Museum is one of the most im-
animation with the subject of end of horses being used as means portant and influential buildings of contemporary architecture with
of transportation is screened on the monitors in this hall. A man respect to creativity in space creation. Despite complexity of spatial
riding a horse stops and descends. This hall is a starting point for relations in plans and sections, the space has remained simple and
your visit to the first gallery where the first autos manufactured by in one piece. The paths are clear. It is impossible to be lost in this
Karl Benz and Daimler in 1886 are displayed. From this gallery museum or go the wrong path or miss a space.
onwards, a historical narrative of Benz and characters related to it
are exhibited in a chronological order parallel to original examples
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