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架构师提供的文本描述。StudiomsArchitetti和HeinzTesar在2010年赢得了修复博物馆的比赛。在16世纪的修道院建筑中增加了两个元素：一个标志着新入口的十字形立面和一个有盖的通道“Galleria”，它也构成了新的入口大厅。
Text description provided by the architects. Studiomas architetti and Heinz Tesar won a competition to renovate the museum in 2010. Two elements were added to the 16th-century monastery building: a cruciform façade, which marks the new entrance, and a covered passageway, the “galleria”, which forms also the new entrance hall.
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拜洛博物馆收藏了20世纪的艺术品，但15年前关闭，因为以前的修道院建筑需要大量整修。博物馆还需要一个新的立面，更适合它的体制作用和它在古城中心的位置；1952年重建的现有立面完全缺乏质量。因此，该项目为这座历史建筑的南侧增添了新的正面，这座建筑在第二次世界大战期间遭到炸弹破坏，1952年重建。
The Museo Bailo hosts a collection of 20th-century art, but was closed 15 years ago as the former monastery building was in need of significant refurbishment. The museum needed also a new facade, more adequate to its institutional role and to its position in the centre of the ancient town; the existing facade, rebuilt in 1952, was totally lacking in quality. So the project add a new frontage to the southern wing of the historic building, which was bomb-damaged during the second world war and reconstructed in 1952.
Floor Plan
十字形的形状是由八个预制人造石板组成的，上面点缀着一些由卡拉拉大理石和一种特殊的白色水泥混合而成的小孔。它在先前存在的墙壁前非常突出，上面涂着一种被称为marmorino的抛光白色灰泥。在门面后面，一个由白色混凝土制成的延伸部分被缝进了一个狭小的内部庭院。它形成了博物馆的新拱廊，举办了售票厅和书店，但也被用作展览空间和会议室。这个新的“石柱”是一个光滑的混凝土结构，长约28米，宽3米，高12米，位于四根细柱子上。
The cross-shaped form is a composition of eight pcast artificial-stone slabs, dotted with small perforations, which are made from a mixture of Carrara marble and a special white cement. It stands out in front of p-existing walls, coated in a type of polished white plaster called marmorino. Behind the façade an extension made from white concrete was slotted into a narrow inner courtyard. It forms the museum’s new arcade and hosts ticket hall and book shop, but is also used as an exhibition space and conference hall. This new “galleria” is a smooth concrete body, about 28 metres of lenght, 3 metres of width, 12 metres of height, setting on four thin pillars.
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天窗的长度为28米长，有助于将自然光带入建筑物.三扇窗户-一扇在十字架的轴线上，另一扇在门的右边，第三扇在延伸部分的侧面-朝向建筑物前面的一个小广场。其中一扇窗户可以看到南部的修道院，那里陈列着圣经人物亚当和夏娃的雕塑。这幅作品是由Arturo Martini(1889-1947年)设计的，他是一位出生于特雷维索的艺术家，他的绘画、雕塑和图形被收藏在博物馆的藏品中。
A skylight runs the length of the 28-metre-long extension, helping to bring natural light into the building. Three windows – one in the axis of the cross, another to the right of the door and a third in the flank of the extension – face onto a small piazza in front of the building. One of these windows provides a view into the southern cloister, where a sculpture of Biblical figures Adam and Eve is displayed. The work was designed by Arturo Martini (1889-1947), a Treviso-born artist whose paintings, sculptures and graphics are included in the museum’s collection.
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画廊的墙壁上覆盖着沙子色的灰泥，地板是由水磨石、卡拉拉大理石和白色水泥制成的-这是指建筑物外墙所使用的光洁度。隔墙被拆除，从旧的房间在建筑物的一部分，以揭示原来的布局，现在有一系列宽，拱形画廊。
The gallery walls are covered in sand-coloured stucco and the floors are made of terrazzo, Carrara marble and white cement – a reference to the finish used on the building’s outer walls. Partition walls were removed from rooms in the old part of the building to reveal the original layout, which now features a series of wide, vaulted galleries.
该建筑的所有装饰元素、材料和结构已在修道院、拱形房间以及墙壁的装饰画中得到了保守的修复。雕塑展示在一系列斑驳的灰色底座上，并由建筑师设计。所有的基地，玻璃盒，桌子和家具都被重新设计，就像一个为艺术作品服务的小建筑家族，设在博物馆的古老房间里。该博物馆于2015年10月底重新向游客开放。
A conservative restoration of all the building’s original decorative elements, materials and structures has been achieved in the cloister, in the vaulted rooms as well as in the wall’s decorative paintings. Sculptures are displayed on a series of mottled grey plinths and in vitrines designed by the architects. All the bases, the glass cases, the tables and the furniture have been re-designed like a family of small architectures serving the art works, hosted in the ancient rooms of the museum. The museum reopened to visitors at the end of October 2015.
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Architects Heinz Tesar, studiomas architetti
Location Treviso TV, Italy
Category Renovation
Architect in Charge Marco Rapposelli, Piero Puggina, Heinz Tesar
Area 1780.0 m2
Project Year 2015
Photographs Marco Zanta
