Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.
Permanent exhibition at Palazzo Mosca in Pesaro, Italy by Migliore+Servetto Architects
October 1st, 2013 by Sumit Singhal
Article source: Migliore+Servetto Architects
From a simple and innovative design idea comes the permanent exhibition system designed by Migliore+Servetto Architects for the Palazzo Mosca – Pesaro City Art Museum, to create fast, autonomous and flexible set ups.
“The narrative line”, this is the name given to this system, is composed of two metallic tracks – a common thread that connects the different exhibition areas following their perimeter – that contain the attachment system for the works of art, the display cases and the graphic supports, adaptable to the different exhibition materials.
The system also integrates the technological part, guaranteeing absolute potential and flexibility of use in time. The narrative line is generated, from room to room, by technological columns that support the graphic elements of identity in each room but that, at the same time, host all the useful elements to complete the functional needs of the exhibition such as control, security and information systems. It is, therefore, a mix of complete elements, that can be improved freely and doesn’t have any compulsory technical points.
Thanks to its flexibility it allows to build faceted narrations and can be easily renovated to offer, in each room, temporary initiatives and exhibitions in a constant update of the museum contents.
In the respect of the genius loci, a light and unifying system of dim-out of the windows underlines the architectural rhythm, hiding inside the air-conditioning plant and, at the same time, supplying an impalpable and suffused transparency of natural light.
The floor reproposes the monochromatic color patterns coming from Pacchioni exhibition of 1936, guiding the visit of the rooms in succession in the long perspective.
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