国王美术馆Egizio/OMA+Andrea Tabocchini建筑

国王美术馆Egizio/OMA+Andrea Tabocchini建筑
The Gallery of the Kings Museo Egizio / OMA + Andrea Tabocchini Architecture

历史与现代的融合：国王美术馆的设计巧妙地将古埃及雕像与其原始环境重新连接，而不仅仅是将它们作为当代博物馆的奇观展示。OMA的设计通过从黑暗到光明的过渡，象征着古埃及的创造过程，这种设计不仅强调了雕像的历史背景，还为现代观众提供了一种沉浸式的体验。数字投影和光线的巧妙运用，使观众仿佛置身于卡纳克的历史场景中，增强了对古埃及文化的理解和感受。

建筑空间的再利用：与Dante Ferretti的黑盒子设计形成鲜明对比，OMA的设计充分暴露了17世纪建筑的原始结构，如拱顶和高窗，使雕像能够沐浴在自然光中，重现其在卡纳克的原始环境。反光铝墙的设计不仅展示了雕像的历史信息，还为空间增添了一种空灵的质感。这种对历史建筑的再利用和创新，不仅保留了建筑的历史价值，也为现代博物馆空间注入了新的活力.

城市空间的延伸：国王美术馆的设计不仅限于建筑内部，还通过一系列公共城市房间将博物馆与都灵的城市空间紧密结合。画廊的无盖窗户向路人展示了古埃及雕像，使其成为城市景观的一部分。拱形入口的设计不仅连接了博物馆与城市空间，还通过古老的莲花柱象征性地邀请游客穿越历史的门槛，体验博物馆的文化内涵。这种设计使博物馆成为城市文化生活的重要组成部分，增强了公众对文化遗产的关注和参与.

建筑师提供的文字描述国王画廊收藏了古埃及城市底比斯（现代卢克索）的巨大雕像，长期以来一直是参观埃及博物馆的亮点。2006年，布景设计师Dante Ferretti对画廊进行了改造，将其变成了一个精致的黑匣子。随着博物馆迎来200周年纪念，翻修画廊的任务提出了重要问题：虽然这些历史文物被强调为当代博物馆的核心展品，但它们的原始背景还能传达吗？画廊能在传授深厚历史知识的同时吸引广大观众吗？
Text description provided by the architects. The Gallery of the Kings, which houses a collection of colossal statues from the ancient Egyptian city of Thebes (modern-day Luxor), has long been the highlight of any visit to the Museo Egizio. Remodeled by set designer Dante Ferretti in 2006, the gallery was transformed into an exquisite black box. As the museum approaches its 200th anniversary, the task of renovating the gallery raises important questions: While these historic artifacts are highlighted as the centerpieces of a contemporary museum, can their original context still be conveyed? Can the gallery captivate a broad audience while imparting deep historical knowledge?

OMA为国王画廊所做的设计将古埃及雕像与底比斯的原始环境重新连接起来，而不是将它们仅仅展示为当代奇观的主角。新的画廊体验是由从黑暗到光明的过渡来定义的——这一概念在历史上象征着古埃及的创造过程，通常与国王和神灵有关。参观者通过一个黑暗的入口被吸引到画廊，墙上的数字投影描绘了卡纳克的历史——雕像的起源地——创造了一种身临其境的氛围，将它们带到了一个不同的空间和时间。两个发光的开口引导游客进入两个明亮的大厅，为里面展示的雕像勾勒出框架。
OMA's design for the Gallery of the Kings reconnects the ancient Egyptian statues to their original context in Thebes, rather than showcasing them as mere protagonists of a contemporary spectacle. The new gallery experience is defined by a transition from darkness to light – a concept that historically symbolized the process of creation in ancient Egypt and is often associated with kings and gods. Visitors are drawn into the gallery through a dark entryway, where digital projections on the walls depict the history of Karnak – the place of origin of the statues – creating an immersive atmosphere that transports them to a different space and time. Two luminous openings guide visitors into the two bright main halls, framing the statues displayed within.

Zoning

与Dante Ferretti的黑盒子设计形成鲜明对比的是，这座纪念性雕像的原始建筑可以追溯到17世纪，完全暴露了该空间的拱顶和高窗。这些雕像可以沐浴在阳光下，就像它们在卡纳克的原始环境中一样。微妙的反光铝墙展示了雕像的历史信息，同时为画廊空间增添了一种空灵的质感。透过天窗的光线将游客的目光引向上方通风的空间，唤起巴洛克建筑的宏伟，同时微妙地提醒他们都灵雕像的当代背景。
In contrast to Dante Ferretti's black box design, the original architecture of the monumental statuary – dating back to the 17th century – has been fully uncovered, revealing the vaults and high windows characterizing the space. The statues can be bathed in daylight, as they were in their original context at Karnak. Subtly reflective aluminum walls display historical information about the statues while lending an ethereal quality to the gallery space. Light streaming through the clerestory windows directs visitors' gaze towards the airy space above, evoking the grandeur of the Baroque architecture, while subtly reminding them of the statues' contemporary setting in Turin.

这些纪念性雕像的新布局将游客带到了一座古埃及寺庙的旅程中。第一个展厅的中心有两个面对面的狮身人面像，两侧是站立和坐着的女神Sekhmet雕像。这种布局让人联想到寺庙的外部空间，包括游行大道和阳光照射的庭院。Seti II的雕像最初放置在卡纳克神庙国王礼拜堂前，站在大厅的尽头，标志着这段经历的巅峰。从这里，游客进入第二个大厅，该大厅的设计是为了参考寺庙内部空间，那里有国王和神灵的雕像。在这个大厅里，阿蒙霍特普二世被描绘为向其他国王雕像献酒，一组国王和神灵的雕像按时间顺序排列。大厅的中心是著名的拉美西斯二世国王雕像。展览以卜塔神的肖像和阿蒙神的雕像结束，阿蒙神是他的动物化身，一只公羊。
The new arrangement of the monumental statues takes visitors on a journey through an ancient Egyptian temple. The first exhibition hall features two sphinxes facing each other at the center, flanked by standing and seated statues of the goddess Sekhmet. This arrangement evokes the outer spaces of the temple, including the processional avenues and sunlit courtyards. The statue of Seti II, originally placed in front of the king's chapel at the Temple of Karnak, stands at the hall's end, marking the pinnacle of the experience. From here, visitors enter the second hall, designed to reference the temple's inner spaces endowed with statues of kings and gods. In this hall, Amenhotep II is depicted offering wine to other statues of kings, and a group of statues of kings and gods is arranged chronologically. At the center of the hall is the renowned statue of King Ramesses II. The display concludes with effigies of the god Ptah and a statue of the god Amun, represented as his animal avatar, a ram.

国王画廊是2024年埃及博物馆不可或缺的一部分，该设计通过一系列公共城市房间将博物馆转变为都灵的一个中央城市空间。画廊的无盖窗户向路人展示了Egizia广场（2024年Egizio博物馆最大的城市房间）和Via Principe Amedeo的古埃及雕像。画廊的入口区域通过一个拱形入口直接与拱廊城市空间相连，该入口构成了一个古老的莲花柱，邀请游客穿越历史的门槛。
The Gallery of the Kings is an integral part of Museo Egizio 2024, a design that transforms the museum into a central civic space in Turin through a series of public urban rooms. The uncovered windows of the gallery reveal the ancient Egyptian statues to passersby on Piazza Egizia – the largest urban room within Museo Egizio 2024 – and Via Principe Amedeo. The gallery's entry area is directly connected to the Arcade urban room through an arched portal that frames an ancient Lotus Column, inviting visitors to pass through the threshold of history.