The relocation in 2015 of the Pietà Rondanini to a different place inside Sforzesco Castle in Milan stirred a passionate debate at the national level for causing the variation in the historical set up designed by the BBPR architects, better known internationally as participants of the lucky Italian season of the post-war museums renovation. This paper seeks to discuss various aspects of the relocation of this treasure. At the outset, it briefly revisits the historical relationship of Milan with the Pietà Rondanini, and then it gives some insight into how the architects BBPR inserted the statue in the museum renovated in the aftermath of the destruction of World War II. The paper also examines the changes that occurred in the museum over the years that forced the decision of moving the sculpture from its postwar place. Finally, a more theoretical part deals with the problem of preserving the museum layouts in the light of the cultural changes that have taken place, and reflects, a few years after the inauguration of the new site, on positive and negative aspects inside a general evaluation, which is not without shadows.
Una nuova sede per la Pietà Rondanini. Note attorno al dibattito sulla conservazione dell’allestimento museale dei BBPR in Castello Sforzesco a Milano
V. Pracchi
2021-01-01
Abstract
The relocation in 2015 of the Pietà Rondanini to a different place inside Sforzesco Castle in Milan stirred a passionate debate at the national level for causing the variation in the historical set up designed by the BBPR architects, better known internationally as participants of the lucky Italian season of the post-war museums renovation. This paper seeks to discuss various aspects of the relocation of this treasure. At the outset, it briefly revisits the historical relationship of Milan with the Pietà Rondanini, and then it gives some insight into how the architects BBPR inserted the statue in the museum renovated in the aftermath of the destruction of World War II. The paper also examines the changes that occurred in the museum over the years that forced the decision of moving the sculpture from its postwar place. Finally, a more theoretical part deals with the problem of preserving the museum layouts in the light of the cultural changes that have taken place, and reflects, a few years after the inauguration of the new site, on positive and negative aspects inside a general evaluation, which is not without shadows.File | Dimensione | Formato | |
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Pracchi_estratto_saggi Carbonara_II.pdf
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