LUCE estratti LUCE 325 _Ferrari_Il MAN di Madrid | Page 7

the direction of archaeologist D. Martín Almagro,
a complete remodelling of the Museum
architectural structure and system was carried
out. It was a ‘reference intervention’, based on
a deep knowledge of the architecture and on a
clear vision of the goals to reach. The recent works
aimed to modernise the institution, answering
the requests for a new exhibition system and
new public services. In our renovation, we kept
the original neoclassical building, using it as
a starting point and as an essential part of the
extensions. I believe that one must never fall
into a nostalgic vision of the past and that it is
nowadays necessary to enhance the value
and the character of an old building, creating
new spatial relations and adding new parts”.
Six years were necessary to get to the final result.
The main strong feature of the new MAN is,
without doubt, the better spaces usability
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LUCE 325 / PROGETTARE LA LUCE
for visitors. A fundamental importance has been
given to the indoor courtyard area, here
transformed into a double-height enclosed area
through the installation of a glass roof that allows
a great daylight availability. Here some of the
most important pieces of MAN’s collection, mainly
sculptures, are displayed, and visitors can admire
them from different angles, including a
“panoramic” view from the galleries overlooking
the courtyard. Indoor circulation and fluxes have
been considerably improved through the addition
of vertical connections. Beyond the main
entrance, a wide welcome area in which public
events are organized has been created. Originally
entirely occupied by the National Library, the
second floor now houses an exhibition space and
private areas for those working for the institution.
Architect Frade further adds: “We designed the
intervention so as to not estrange it from the
history of the building; contemporary architecture
can be used to power the most authentic spirit
of the past, sometimes by starting a conversation,
others by betting on strong contrasts.”
For the renovation and the extension, the
designers chose to use few materials, selected in
order to fulfil the requirements of the regulation
that since 1983 protects the neoclassical building.
Marble, tarimas de merbau (a variety of wood,
Ed.), and oak wood are among the most used
ones. As regards the museum arrangement, Frade
Arquitectos worked toward the achievement
of the maximum flexibility. The choice to use only
two families of display-cases for the whole
museum goes in that direction, making a possible
future rearrangement of paths simpler.
A fundamental role in the new MAN is certainly
played by the lighting designed by Frade’s team
and by the lighting designer Toni Rueda.
The lighting products have been supplied
by the German company Erco.
A detailed focus is necessary to understand the
study behind the sculptures lighting. Artworks are
nowadays displayed in the courtyard and can be
observed from every angle, and visitors can take
their time to observe their details. Light changes
the way statues are perceived, adding shades to
the stone, modelling draperies and faces. In this
sense, a calibrated mix of daylight and electric
light has been considered to be the best
compromise. Projectors have been placed on
the borders of the courtyard and carefully pointed
at the artworks. There are pieces that, for their
uniqueness, are treated with special attention.
Among them, the feather in its cap of the MAN:
the Lady of Elche, a woman’s bust dated back
to the II century b.C., “staged” by Optec spotlights
by Erco. Two of them, with a spot optic, are placed
on each side of the Lady, while a third one, with
wide flood optic, illuminates the artwork from
behind, with a slight backlit effect. The warm
white light of the 3,000 K LEDs enhances the
colour of the limestone, whereas the play of light
and shadows defines the bust contour.
The eyes pointing downwards are slightly in the
shadows, and the eyelids appear luminous,
creating an alive and modern expression.
In general, the whole exhibition is made
of different moments, of more or less punctual
lights, and of varying intensities.
According to the dimension and surface of the