摘要：位于意大利佛罗伦萨原圣潘克拉齐奥教堂的马利诺·马里尼博物馆，无疑是一个惊喜之作，它将古典与现代艺术精妙融合于同一空间之内。创办马里诺·马里尼美术馆是马里诺 ·马里尼的心愿，上世纪70年代末，马里诺·马里尼认定San Pancrazio 教堂是展示自己向佛罗伦萨

位于意大利佛罗伦萨原圣潘克拉齐奥教堂的马利诺·马里尼博物馆，无疑是一个惊喜之作，它将古典与现代艺术精妙融合于同一空间之内。创办马里诺·马里尼美术馆是马里诺 ·马里尼的心愿，上世纪70年代末，马里诺·马里尼认定San Pancrazio 教堂是展示自己向佛罗伦萨奉献作品的理想地点。1988年，建筑师洛伦佐·帕皮(Lorenzo Papi)和布鲁诺·萨基(Bruno Sacchi)，在这座古老的历史建筑与当代材料之间制造了一场跨越时空的对话，传递了马里诺 ·马里尼这位于20世纪地位举足轻重的艺术家的迷人世界，成功地塑造了佛罗伦萨第一座古典与现代完美结合的当代美术馆。

The Marino Marini Museum located in the ex-church of San Pancrazio in Florence, Italy is a fantastic surprise; combining classic and contemporary/modern art all under one roof.The establishment of the Marino Marini Museum was a cherished wish of Marino Marini. In the late 1970s, Marino Marini identified the Church of San Pancrazio as the ideal location to exhibit his works, dedicated to Florence. In 1988, architects Lorenzo Papi and Bruno Sacchi orchestrated a dialogue that spanned time and space between this ancient historic building and contemporary materials. They successfully conveyed the enchanting world of Marino Marini, an artist of paramount importance in the 20th century, and crafted the first contemporary art museum in Florence that seamlessly blends classical and modern elements.

负责呈现马利诺·马里尼当代艺术作品的建筑师团队，凭借其非凡创意，巧妙地将佛罗伦萨圣潘克拉齐奥教堂的古朴建筑结构与现代空间布局及光线设计理念相融合，这一过程完美诠释了意大利语中“sposa”（结合）的精髓，营造出一种极致的感官“piacere”（愉悦）。这一设计不仅是对理想展览空间的一次独到诠释，而且与石墙内蕴藏的丰富多样性形成了绝妙的互补，为展品搭建了一个无与伦比的展示舞台。

The architects responsible for showcasing the contemporary work of Marino Marini took the antique structure of the San Pancrazio church and, as the Italians would say, “sposa” (married) it to the concepts of space and light which created a sensorial “piacere” (pleasure). It is a unique interpretation of the ideal setting for both exhibits and perfectly complements the diversity that we find within the stone walls.

马术纪念碑 Monumento Equestre, 1957-1958, 青铜, 435×337×233cm

在马里诺·马里尼（1901-1980）浩瀚的艺术作品中，其雕塑作品尤为突出，这些作品以贯穿他一生的痴迷主题——骑士（即骑手与马）为特色。马里尼的骑士雕塑以体积的变幻和看似不可能的平衡为特点，他将这一题材转化为连接古代与现代文化、过去与现在的纽带，也因此多次被誉为“继承伊特鲁里亚人传统的艺术家”。

Within the extensive work of Marino Marini (1901 – 1980), his sculpture stands out, characterized by a figure that would obsess him throughout his life: the Cavaliers, that is, riders and horses. The play of volumes and impossible balances characterizes the sculptures of the Cavaliers, which Marini transforms into a connecting element of ancient and modern cultures, of past and present, earning him the title on numerous occasions of "artist descended from the Etruscans."

骑手已不再满足于安逸地留在尘世；他渴望穿透地表，向宇宙进发。他不再被允许留在那些无法安宁的人群之中。马儿屈服了，骑手也迷失了方向。

——马里诺·马里尼

The rider is no longer comfortable on Earth; he wants to pierce the surface and make his way into the cosmos. He is no longer allowed to remain among men who are not at peace. The horse succumbs and the rider is lost. ——Marino Marini

骑士 Il Cavaliere, 1952, cm. 193 x 369 x 215© Museo Marino Marini

该建筑源自对中世纪圣潘克拉齐奥教堂结构的精湛翻新，该教堂历经多次修复与改造，直至十八世纪中叶，由建筑师朱塞佩·鲁杰里（Giuseppe Ruggieri）进行了全面重新设计。1808年教堂停止宗教活动后，该建筑被赋予了多种功能：最初成为法国帝国彩票总部，随后于1883年被指定为皇家烟草工厂，最终在1937年被指定为毗邻修道院中兵营的物资仓库。随着时间的推移，其原始平面图被修改：十八世纪的教堂中殿通过增设金属地板被分隔为多层，至今仍可见其带螺栓的铁横梁。

The building is the result of a skillful renovation of the structure of the Church of San Pancrazio, of medieval origin, which underwent various phases of restoration and transformation until the mid-eighteenth century when the architect Giuseppe Ruggieri completely redesigned it. When the church was deconsecrated in 1808, the structure was used for various functions: initially, it became the headquarters of the Imperial French Lottery, then in 1883 it was designated as the Royal Tobacco Factory, and finally in 1937 it was designated as a storage depot for the barracks that had been installed in the adjacent convent. Over time, its original floor plan was modified: the eighteenth-century nave was divided into multiple levels by means of a metal floor, whose bolted iron beams can still be observed today.

20世纪60至70年代，当军事管理最终撤离该教堂后，建筑的修复工作随即展开。但直到20世纪80年代初，教堂才真正成为一个修复项目的对象，该项目最终确定了其结构和内部布局。事实上，1982年，教堂的现代修复工作被委托给了建筑师洛伦佐·帕皮（Lorenzo Papi）和布鲁诺·萨奇（Bruno Sacchi）。建筑师们的项目需要在前几年已部分进行中的修复工作基础上进行，之前的修复工作包括拆除巴洛克风格的内部立面，并搭建两根桁架以支撑门廊的新屋顶。

Between the 1960s and 1970s, when the church was finally vacated by the military administration, the recovery of the building began. But it was in the early 1980s that the church became the subject of a renovation project that finally defined its structure and internal layout. In fact, in 1982, the modern restoration of the church was entrusted to the architects Lorenzo Papi and Bruno Sacchi. The architects' project had to be grafted onto a partial intervention already underway in previous years, which had seen the demolition of the Baroque interior façade and the erection of two trusses to support a new roof for the vestibule.

20世纪60至70年代，当军事管理最终撤离该教堂后，建筑的修复工作随即展开。但直至20世纪80年代初，教堂才成为一项最终确定其结构和内部布局的翻新项目的对象。事实上，1982年，教堂的现代修复工程被委托给了建筑师洛伦佐·帕皮（Lorenzo Papi）和布鲁诺·萨奇（Bruno Sacchi）。建筑师们的项目必须融入前几年已在进行的部分修复工作之中，这些工作包括拆除巴洛克风格的内部立面，并搭建两个桁架以支撑门廊的新屋顶。

The architects play with the contrast between the new and the pre-existing, probably following the lesson of the great master Carlo Scarpa. By adapting the religious structure to its new museum functionality, Papi and Sacchi decided to leave the layering of interventions that have succeeded over time readable, from the nineteenth century to the end of the twentieth century, working on a redesign of the distributing spaces. The only area where today's project had to intervene with a radical reinvention is the back wall, corresponding to the old choir, of which no vestiges remained. The characteristic element is precisely the elevated pathways: stairs and walkways accompany the visitor on the journey through Marino Marini's works, a collection of 183 works composed of sculptures, paintings, drawings, and engravings.

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尽管如此，古老的圣潘克拉齐奥教堂仍保留着一处神圣角落，见证着它对佛罗伦萨这座城市举足轻重的地位。这便是十四世纪的鲁切拉伊小礼拜堂（Rucellai Chapel），内葬有文艺复兴时期佛罗伦萨最强大的商人家族之一——鲁切拉伊家族的族长乔凡尼·鲁切拉伊（Giovanni Rucellai）之墓。

Nevertheless, the old Church of San Pancrazio still preserves a sacred corner that bears witness to the enormous importance it had for the city of Florence. It is the Rucellai Chapel, from the fourteenth century, where the tomb of Giovanni Rucellai, patriarch of one of the most powerful merchant families in Renaissance Florence, is located.

鲁切莱家族的礼拜堂纪念墓室© Museo Marino Marini

鲁切拉伊之墓作为佛罗伦萨文艺复兴时期最伟大的艺术表现之一流传至今。它由莱昂·巴蒂斯塔·阿尔伯蒂（Leon Battista Alberti）创作，阿尔伯蒂还设计了圣玛利亚诺维拉教堂（Santa Maria Novella）的正面，从中我们可观察到两者间的相似之处。它被设计成圣墓教堂的复制品，且尺寸完全一致。据说，鲁切拉伊家族是羊毛商人，他们曾乘船前往耶路撒冷，亲自测量圣墓教堂的尺寸。而装饰方面则大相径庭，它以文艺复兴时期的图案为灵感，融入了神秘主义和所罗门王的隐喻。如今，该建筑的这一部分仍作为小礼拜堂使用，每月会举行一次讲道。

The Rucellai tomb has survived to our day as one of the greatest expressions of Florentine Renaissance. It was created by Leon Battista Alberti, who also designed the façade of Santa Maria Novella, with which we can observe similarities.It was designed as a replica of the Holy Sepulcher and shares exactly the same measurements. It is said that the Rucellai family, wool merchants, sailed to Jerusalem to take the measurements of the Holy Sepulcher. The decoration, on the other hand, is very different, inspired by Renaissance motifs, with cabalistic and Solomonic allusions. This part of the building still functions as a chapel and homilies are held once a month.

Marino Marini（马里诺·马里尼）

来源：星期八室内设计