Photo © Courtesy Mario Bellini e Rudy Ricciotti
Photo © Courtesy Mario Bellini e Rudy Ricciotti
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Philippe Ruault. Courtesy Musée du Louvre
Photo © Raffaele Cipolletta courtesy Mario Bellini Architects
Photo © courtesy Mario Bellini Architect(s)
Photo © Raffaele Cipolletta courtesy Mario Bellini Architect(s)
Photo © Raffaele Cipolletta courtesy Mario Bellini Architect(s)
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © courtesy Louvre Museum
Photo © courtesy Louvre Museum
Photo © courtesy Louvre Museum
Photo © courtesy Louvre Museum
Photo © courtesy Louvre Museum
Photo © Antoine Mongodin, 2012 Musée du Louvre
Photo © Antoine Mongodin. Courtesy Museo del Louvre
Photo © Philippe Ruault. Courtesy Musèe du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin. Courtesy Museo del Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Photo © Antoine Mongodin / R. Ricciotti – M. Bellini / Musée du Louvre
Department of Art at the Louvre islaimic (Eng - Ita) FRA - The creation of the new Department of Islamic Art in the Louvre represents a landmark in the architectural history of the palace and in the development of the museum. Twenty years after the creation of the pyramid these new rooms is the largest development project museum museum. tomorrow they will house one of the finest collections of art objects in the world of Islam by the geographical diversity of works by the importance of the historical period covered and the variety of materials and techniques represented. This amazing project was born from the observation made on arrival by President Henri Loyrette, director of the Louvre: the arts of Islam simple section of the Department of Oriental antiquity did not have clean rooms to enhance this collection. Desiring to "strengthen the universal" the Louvre "remind the world of the French and the essential contribution of Islamic civilizations to our culture" and promote dialogue between cultures and civilizations President Jacques Chirac had to the outset supported the project so that the Louvre collections can deploy these spaces worthy of their richness and diversity. July 16, 2008 at the laying of the first stone of the new rooms of Islam President Nicolas Sarkozy stressed the importance of this project in the context of dialogue between peoples and cultures. More than 18 000 works and will exposed in future rooms - works from the Louvre which will add substantial deposits from the collection of the Union Centrale des Arts Décoratifs. They brilliantly cover the entire cultural field of Islamic civilization from Spain to India in all its chronological span from the seventh to the nineteenth century. These works, many of which will be offered to the visitors for the first time have also been an extraordinary restoration project. Throughout the eight centuries of its history, the Louvre has always captured each time it who was the best and most innovative in the field of architecture. Housed in the case of the Cour Visconti restored in the heart of the museum's new department of Islamic Art is a mirror of the extraordinary richness of the artistic heritage of Islam. It is in continuity collections devoted to late antiquity the eastern basin of the Mediterranean from the Roman and Coptic Egypt Syria Phoenicia and Palestine (draft "East Mediterranean in the Roman Empire") . creation and integration of these new spaces was an architectural challenge in a place so steeped in history. To meet this challenge the architects Mario Bellini and Rudy Ricciotti have found a subtle and elegant balance between neoclassicism the court of the seventeenth century and the evocation of Islamic Art through undulating canopy quietly letting daylight in exhibition spaces. remarkably This innovative combination of glass and metal facades extends plumb Existing Cour Visconti to create two levels underground (a technical level and a level that will deploy the museum spaces). Both architectural and artistic culture this great site assumes another dimension at the core missions of the Louvre, a universal dimension that transcends borders and creates a dialogue between these cultures and civilizations. Today the Louvre is a museum open to the world and at the request of many institutions in the world is now present on all continents with exhibitions of archaeological excavations and scientific expertise museum. At a time when the dialogues and exchanges among civilizations and cultures a fundamental character of the new department of Islamic Art is a space and a place to witness and crossroads of mutual understanding, a bridge between East and West to discuss their differences, but also and especially their shared history of their mutual interpenetration throughout the centuries. Choosing the same name given to these new spaces - Department of Islamic Art - is part of a process that wants to assume the Louvre. This is indeed present the luminous face of a civilization that encompassed within it a rich and varied infinitely humanity through a broad and inclusive approach which has very different worlds (Andalusian Ottoman Mamluk Persian ...). Visitors will and invited not only to run but also works on a journey sensitive heart of the civilization of Islam. In this perspective these new spaces include an important mediating device that will contextualize the works decrypt their forms locate in history or to seek the opinion of experts. Construction of new space dedicated to the arts of Islam was made possible by the support and patronage by exceptional generous donors. Since the announcement of the launch of the HRH Prince Alwaleed Bin Talal Bin Abdulaziz Alsaud present at the laying of the foundation stone in July 2008 was our first patron. State of the contributors were then generously involved in this great project: His Majesty King Mohammed VI of Morocco His Highness Sheikh Sabah Al-Ahmad Al-Jaber Al-Sabah Emir of Kuwait on behalf of the State of Kuwait His Majesty Sultan Qaboos Bin Said Al-Said and the Omani people and the Republic of Azerbaijan. Major French companies Total and Lafarge Foundation wanted to financially support the construction of these new rooms.individual donations or other business also contributed project funding: Bouygues Construction Marazzi Group Foundation Orange Frédéric Jousset the Samuel H. Kress Foundation and Olivier Chalier Council. exceptional financial effort by the French government and the Louvre have also contributed to this project to the tune of 30% of the total costs of the future Department of Islamic Art and rooms of the Eastern Mediterranean in the Roman Empire. now to complete the financing it definitely still a need € 10 million. month of January 2012 saw the completion of the architectural setting including the installation of its unique canopy. In the summer of 2012 when the installation is complete collections the opening of new facilities of the Department of Islamic Art is the culmination of nearly four and a half years of work. ITA - The allestimento museografico su una sorgerà area 3mila metri di quadratic distribuiti su due livelli. "La Corte Visconti - spiegano i progettisti - not my will coperta sarà visibile." If tratta di una scelta architettonica che i due hanno architetti abbracciato difendendo the idea con forza di una "integrazione dolce e senza violenza" tra la del nuovo progetto e contemporaneità the indiscutibile valore del sito Historic destinato ad accoglierlo. Elemento del progetto è peculiare singolare una notte di che copertura floating illuminate if there durante e giorno diffonderà nello spazio circostante la luce naturale al piano interrato China. "I nuovi spazi museali coperti sono da che float a bike luminoso delicatamente sull'allestimento museografico diffondendo una luce discreta attorno. Grazie a questo "velo" i visitatori dei nuovi potranno vedere dall'interno spazi museali the facciate della corte. Dall'interno delle dirty gioco di potranno ammirare it pieghe e della copertura wave che Dara tutto una insieme the poetica suggestione. " It progetto rifiuta it frazionamento spaziale per privilegiare the continuity dei percorsi. è diffusa La luce dal naturale "velo" the cui è shovel multistrato trattata in modo da controllarne the intensità evitando the Bagliore eccessivo. Al interrato the piano è possibile visione del velo in diversified punti delle grazie a German aperture immaginate estremità della corte. Risulta in tal modo di confermato it ruolo "unificatore della collezione" affidato went singolare copertura.Quest'ultima is in da una maglia reticolare costituita tubi circolari in acciaio e lastre di Vetro. He "velo" if compone particolare in da di due strati uniti Montanti verticali: quello interno costituito dalla è che si maglia in acciaio sviluppa in corrispondenza del soffitto pops quello esterno è sul quale realizzato in vetro sono dei Washroom Sleep pannelli solari. spessore Lo della copertura variable has seconda delle esigenze strutturali: ampio in più di supporto Pilastri corrispondenza dei più sottile have bordi. compone The area if di triangoli (2352 per ciascuno strato) the cui proiezione knew a piano orizzontale Disegna dei triangoli rettangoli isosceli 1m20 x 1m20 di circa. Per poter seguire area curvilinea the dimensioni dei triangoli Variano has della seconda Pendenza.