045


with the development of a lighting response within MAXXI that would aid and commu- nicate circulation. This indeed, became one of the primary thrusts of the lighting concept. Clearly, as a public gallery and arts based building, one of the key requirements is that way-finding and direction should be relatively easy, ensuring a positive and responsive experience for gallery visitors.


The creation of a specific lighting language around the building’s circulation was there- fore a natural development of the lighting design – it is the simple use of light as a communication medium.


This conceptual principle emerged as a sequence of back illuminated panels and integrated details around the various circu- lation elements within the building, clearly defining a desired circulation methodology.


TECHNICAL PERFORMANCE


In addition to dealing with these primary, functional aspects of the building, there was of course the need to provide optimal


lighting conditions for the display and il- lumination of art. There is a nice overlap in this area with some of the ‘ambient’ treat- ments described above, in particular the high level artificial roof lighting, providing a diffused base upon which to build these lighting functions. The nature of these ‘building’ lighting treatments provided good basic gallery illuminance, particularly when coupled with other direct lighting arrange- ments.


From very early on, a design intent devel- oped to combine lighting functions wher- ever possible. Again this was a response to the paring down of the installation and


In parallel, rows of BEGA recessed wall luminaires and matching BEGA bollards provide the same contrast of material and colour to the bright swinging surfaces and elements of architecture outside. An impressive architectural detail by day, they become a convenient lighting system by night. They create glare free light on ground surfaces. BEGA installation housings and plaster frames guarantee perfect installation in sophisticated exposed concrete surfaces


Form von Zaha Hadid Architects‘ Vorstellung von einem ‘Drift‘ – von Massen und Räumen, die treiben – wird unterstrichen durch die Designelemente des natürlichen und künstlichen Lichts in einem Projekt von GIA Equation. Es ist angesiedelt in dem ehemaligen Platz der Kas- ernen am nördlichen Rand der Innenstadt, zwischen dem Tiberbogen, dem Wohngebiet und den Lagerge- bäuden, die hellgraue Struktur der MAXXI ist weithin sichtbar. Die übergreifenden, geschwungenen Um- risse setzen sich von dem orthogonalen städtischen Rasterbild ab und ziehen die Besucher magisch an. Das Sichbetongebäude wirkt wie eine riesige Skulp- tur, bei der sich Licht und Schatten dekorativ auf dem ausladenden Vorhof abwechseln. Helle Mus- ter werden durch das Sonnenlicht geschaffen, das in und durch die Struktur scheint, Schattenlinien wandern über den Bereich, Innen und Außen werden subtil verbunden. Die überhängenden Strukturen krümmen sich wie Dachvorsprünge und führen den Besucher in das Foyer, eine Halle, die so hoch wie das Gebäude ist, verschachtelt mit sich kreuzenden


Treppen, Passagen und Brücken. ITALIANO


Il primo museo di arte contemporanea in Italia, il Museo Nazionale delle Arti del XXI Secolo, o MAXXI, è una scultura architettonica espressiva. La na- tura dinamica di questa forma incarnata dell’idea di “mucchio” degli architetti di Zaha Hadid – di masse e spazi che si ammucchiano- è sottolineata dagli el- ementi di design con luce naturale e artificiale in uno schema della GIA Equation. Situata sui terreni una volta appartenenti alle caser- me militari al bordo settentrionale del centro città, tra l’ansa del Tevere, l’area residenziale e magazzini, la leggera struttura grigia del MAXXI è visibile da lontano. I contorni sovrapposti e curvi spiccano sul reticolato ottagonale della città ed attraggono magi- camente i visitatori. La costruzione di calcestruzzo a vista appare come un’enorme scultura con alternanze decorative di luce ed ombra nell’ampio cortile. Motivi luminosi


vengono disegnati dalla luce del sole che splende sulla struttura e la attraversa, linee d’ombra vagano per tutta la zona, interiori ed esterni sono impercet- tibilmente connessi. Le strutture sporgenti si piegano in tetti in aggetto, guidando i visitatori nel foyer, una hall alta quanto la costruzione, intrecciata con scale di attraversamento, passaggi e ponti.


ESPAÑOL


El primer museo nacional de arte contemporáneo de Italia, el Museo Nazionale delle Arti del XXI Secolo, ó MAXXI, es una expresiva escultura arquitectónica. La naturaleza dinámica de la figura personificada de la idea de la “deriva” de los Arquitectos Zaha Hadid - de las masas y espacios que están a la deriva – es acentuada por los elementos de diseño de luz natu- ral y artificial en un proyecto de GIA Equation. Ubicado en lo que fueran los terrenos de los bar- racones militares en las afueras del norte de la ciudad vieja, entre medio de la curva del Tíber, el área residencial y los edificios de almacenaje, la


estructura gris claro del MAXXI se ve desde la dis- tancia. Los contornos curvos superpuestos se salen del modelo urbano ortogonal atrayendo a visitantes mágicamente. El edificio de hormigón expuesto aparece como una gran escultura alternando decorativamente la luz y la sombra en la extensa entrada. El brillo de la luz solar dibuja modelos brillantes en la estructura y a través de la misma. Las líneas de sombras vagan a través del área; el interior y el exterior se conectan sutilmente. Las estructuras sobresalientes se doblan en dos como techos salientes, guiando al visitante para entrar al foyer; un hall tan alto como el edificio entrelazado con escaleras que se cruzan, pasajes y puentes.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132