特雷维索Bailo 博物馆/ Studiomas + Heinz Tesar_文化博物_室内设计联盟

来自建筑事务所的描述：2010年，Studiomas architetti建筑事物所和Heinz Tesar在博物馆翻新大赛中赢得了胜利。建筑师给这个16世纪的修道院建筑增加了两个元素：博物馆新入口出的十字形立面和形成新入口门廊空间的有顶人行通道。

From the architect. Studiomas architetti and Heinz Tesar won a competition to renovate the museum in 2010. Two elements were added to the 16th-century monastery building: a cruciform facade, which marks the new entrance, and a covered passageway, the “galleria”, which forms also the new entrance hall.

Bailo博物馆现在收藏着20世纪的艺术作品，但是由于之前的修道院建筑亟待翻新所以15年前博物馆就关闭了。该博物馆也需要一个与它公共建筑性质相匹配新的立面来凸显其在历史名城中心的地位；现存的建筑立面，在1952年经历过一次重建，但是现在已经完全破坏了。因此该项目在历史建筑的南侧临街处增加了一个新的立面。该历史建筑在二战中被炸毁，后来1952年，又进行了重建。

The Museo Bailo hosts a collection of 20th-century art, but was closed 15 years ago as the former monastery building was in need of significant refurbishment. The museum needed also a new facade, more adequate to its institutional role and to its position in the centre of the ancient town; the existing facade, rebuilt in 1952, was totally lacking in quality. So the project add a new frontage to the southern wing of the historic building, which was bomb-damaged during the second world war and reconstructed in 1952.

该十字式的结构由8块人造石预制板构成，板上还有一些小的圆形穿孔，此外该人造板是由卡拉拉大理石和特殊的白水泥混合制成的。该立面外表涂上了叫做marmorino的白色抛光石膏，与之前的立面相比更加醒目。立面的后面是由白色混凝土制成的延伸空间，该空间直接通向紧凑的内院，这也形成了博物馆新拱廊，主要用作售票大厅和书店使用，另外这里也用作展览或会议厅使用。这个新的“街廊”，3米宽，28米高，建筑主体为光滑的混凝土，建筑结构上设置了4根薄柱子用来支撑。

The cross-shaped form is a composition of eight precast artificial-stone slabs, dotted with small perforations, which are made from a mixture of Carrara marble and a special white cement. It stands out in front of pre-existing walls, coated in a type of polished white plaster called marmorino. Behind the facade an extension made from white concrete was slotted into a narrow inner courtyard. It forms the museum's new arcade and hosts ticket hall and book shop, but is also used as an exhibition space and conference hall. This new “galleria” is a smooth concrete body, about 28 metres of lenght, 3 metres of width, 12 metres of height, setting on four thin pillars.

延伸约28米的天窗有助于将自然光引入建筑中。三种窗子——一是沿着十字轴线的，二是正对着门的，三是延伸空间上正对建筑前面露天广场的侧窗。这些窗户有些可以直接看到南部修道院的回廊，回廊上摆放着圣经中的亚当和夏娃的雕像。这个艺术品是由特雷维索本土艺术家Arturo Martini (1889-1947)设计的，其许多绘画、雕塑和书刻艺术品都收藏在该博物馆中。

A skylight runs the length of the 28-metre-long extension, helping to bring natural light into the building. Three windows – one in the axis of the cross, another to the right of the door and a third in the flank of the extension – face onto a small piazza in front of the building. One of these windows provides a view into the southern cloister, where a sculpture of Biblical figures Adam and Eve is displayed. The work was designed by Arturo Martini (1889-1947), a Treviso-born artist whose paintings, sculptures and graphics are included in the museum's collection.

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画廊的墙面粉刷成了沙土色，地面则是卡拉拉大理石和白水泥制成的水磨石。地面的做法是以已经完工的建筑外墙的做法作为参考的。为了暴露出建筑本来的布局，建筑师将老建筑部分的分隔墙都去除了，这也形成了现在的一系列宽敞的拱廊空间。

The gallery walls are covered in sand-coloured stucco and the floors are made of terrazzo, Carrara marble and white cement – a reference to the finish used on the building's outer walls. Partition walls were removed from rooms in the old part of the building to reveal the original layout, which now features a series of wide, vaulted galleries.

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无论是修道院回廊，拱顶空间还是墙面的装饰粉刷上，建筑师都保留了建筑原有的装饰。建筑师精心设计了灰色斑驳的基座和橱窗来展示雕塑作品。所有的基础性设施，玻璃的使用，桌子或是家具都再次进行了设计就好像服务于艺术作品的小建筑的家庭。所有的元素汇聚在博物馆这个古老的空间中。该博物馆于2015年10月份再次对公众开放。

A conservative restoration of all the building's original decorative elements, materials and structures has been achieved in the cloister, in the vaulted rooms as well as in the wall's decorative paintings. Sculptures are displayed on a series of mottled grey plinths and in vitrines designed by the architects. All the bases, the glass cases, the tables and the furniture have been re-designed like a family of small architectures serving the art works, hosted in the ancient rooms of the museum. The museum reopened to visitors at the end of October 2015.

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