Monday, May 19, 2008

Louvre Department of Islam - Rudy Ricciotti

The Architectural Choices

Text was translated from French to English through Google language generator

"The Cour Visconti will not be covered, but will remain visible ': this is the choice architectural strongly affirmed by the architects Mario Bellini and Rudy Ricciotti, in search of a" sweet and integration without violence "between a resolutely contemporary architectural design and a site historic. The presentation of the collections is dispiegherà of about 3,500 sq.m., divided into only two levels. The first - the level of court - will present works ranging from VII and the tenth century, the second - the level or buried at the "new" ground floor -will exhibit works from XI to the nineteenth century with the prestigious collection of carpets . The new museum spaces are covered by a 'Velo' bright that effondendo a discreet lighting widespread flotterà gently sull'allestimento museografico. Thanks to this' Velo 'from the new museum spaces you have the perception of facades of the court. From halls, visitors can admire the play of folds and waves of coverage that will give the whole a poetic suggestion.

The Path Museografico
The visitor, coming from the Pyramid, will reach the lowest level dell'Aile du Manège, at the same level of cour Visconti; instead traced the escalators leading to higher level, the visitor will be attracted by the spectacular vision of 'Velo' iridescent that animates the court of a new presence: the entry to the new Department of Islamic Art.
The visit forms a circuit perfect, not introducing any unnecessary movement. The other collections distributed around the court, will be put into resonance with the collections of Islamic art thanks to connect with those of Trois Antiques (south), with those of Greece Pre-Classical (north), Coptic Egypt (east ) And Egypt Romano (west).

The "borders" of different sequences route, take the body in the form of a continuum of furniture (Banquette) that, in its design, evokes the ruins of a city: this element spread over several levels high, while maintaining frequently l 'height of a table, to enable the eyes of the visitor to move freely, but at the same time contribute to the needs dell'allestimento becoming from time to time area of mediation, cimasa, etc..

This element can also be used as backing for the title of the various sections, or as support for educational texts, captions, plasma screens, or can deform up to host an educational model specially constructed. Nell'apparente maze formed by units of presentation, the item of furniture we are talking about will be a clear guide for the peaceful conduct of the tour, but also shelter, a balustrade, a sort of handrails source of information. The captions on the works will be placed behind the shop windows on media inclined to be sufficiently close to the works without distraction, with their presence, the attention of visitors.

The Distribution and Organization of Spaces
The project museografico rejects the fragmentation space to focus on the continuity of the tour. The absence of interruptions in the flow of the visit will reinforce the sense of a speech rhythm only by time spent in front of objects, from meditation and the rest took and fostered by the project.

The Atmosphere Light
The natural light will be widely used by the 'Velo' coverage, whose iridescent skin will be treated to be able to graduate the intensity, and avoid the glare. In the middle of summer, the intensity of light inside the exhibition halls will not exceed the level of lux provided for the proper conservation of artefacts on display and for the comfort of visitors.

At the lowest level of salt, the sight of 'Velo' will be possible in many points, thanks to openings provided in slabs along the perimeter of the court, thereby confirming the 'Velo' very unifying element in the role of the collections. Echoing the 'Velo', the floor of the lower level will cover the gilded splinters of glass, forming a mosaic discreet in which the light of day find a new depth and preciousness.

Text was translated from French to English through Google

(Text & Images via:

No comments: