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Ten museums

Frank Lloyd Wright
The Solomon R. Guggenheim Museum
1943-1959
New York









The museum was commissioned by the collector and patron Robert Solomon Guggenheim and Wright probably, in the project, moved observation of a shell.
However, the museum is built around a large spiral ramp that makes the exhibition is linear and continuous, a walk that winds in front of the works and which denies the classical division into salt.
The light comes from above, from both large glass dome that dominates the large space, either by striking fissures that create the spiral structure of the upper protruding on the bottom.
The works are illuminated by a diffused light reflected from the curved surfaces and white, which gives a sense of naturalness and the whole environment that enhances the sinuous forms.

"the interior is so sweet proportionate - explains Wright himself - you feel an impression of extreme relaxation, similar to that produced by a wave of calm, that never breaks nor offers resistance or limit vision "

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ACT Architecture - Game Aulenti
Musée d'Orsay
1978-1986
Paris








The old Gare d'Orsay , one of the most important railway stations Paris was built in 1900 and designed by Victor Laloux (1850-1937) in steel, glass and cast iron.
already fallen into disuse in 1939, was placed under the protection of Fine Arts in 1978 and converted into a museum.
The Italian architect Game Aulenti, who redesigned the interior and exhibition organized the exhibition, chose not to overlap your architecture to the original, but to interact, allowing visibility of the building Laloux and giving rise to a number of routes and levels of independence.
The study of light is scrupulous.
lighting comes from skylights and a series of vertical baffles suspended from acting simultaneously shielding of direct light and reflective element.
The light then penetrates the halls widely and is complemented by a system of artificial lighting.
latter, located at a considerable distance from the works, is designed to avoid the annoying effect of point light.

> http://www.illuminoso.info/museod 'orsay.htm

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Rafael Moneo
New Prado
1997-2007
Madrid











The Museo del Prado was born at the behest of King Ferdinand VII of Bourbon (1808-1833) and was housed in the magnificent palace that was built from 1785 by Charles III to house the Museum of Natural Science.
The aim was to bring together in one venue all the art treasures of the Crown, including the paintings of the greatest English painter Francisco Goya.
The huge body of work amassed in the deposits required, however, after a century and a half, a careful reorganization of the seat and above a significant expansion.
Moneo's intervention has substantially increased the space, recovering the ancient cloister of the monastery adjacent wing and also created a large temporary exhibition.
Light enters through skylights and large glass sinks in the middle of the salt and light works extensively, but never directly. A large room is then derived from the cloister, closing with a glass roof and converting it from outer space to inner space.

> http://www.repubblica.it/2007/10/sezioni/spettacoli_e_cultura/prado/prado/prado.html

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Moshe Safdie and Associates
Skirball Cultural Center Santa Monica Hills









The Cultural Center is composed of a series of independent buildings (an auditorium, an outdoor theater , a research center and exhibition) organized around a single location. E 'highly original revival of the ancient and classical architectural forms (esedre, courtyards like cloisters, towers) in language and modern materials, with a charming mixture of familiarity and formal invention.
What then leaps to the eye is the strong link between internal and external through a multitude of courtyards and gardens bordered by windows.
The only areas not to have direct contact with the outside are just the exhibition halls, illuminated by a simple, yet effective, studied in section and taken from the Byzantine-Romanesque churches.
Each room is covered by two layers, interrupted near the ridge to allow for a time close slightly higher. A strip windows let in light and this, reflecting first on the opposite wall and then on the curved surface of the ceiling, is scattered down on the exhibits. The two long sides of the rooms are glazed, but the direct light is shielded by a continuous septum.













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Charles Rose Architects
Florida Gulf Coast Art Center
Clearwater (Florida)










This art center is designed to house the exhibition halls and teaching spaces and is built around two public elements: the large steel column and the bridge to Heritage Village, an outdoor museum.
complex - consisting of an auditorium, library, cafeteria, sculpture garden and galleries - is in constant dialogue with the outside and the buildings fit into the green as simple geometric blocks.
The lighting of the rooms is almost exclusively from above, through the imposing fireplace as wide as the building, taking the side of light, reflect it on the large stucco surface and spread downward in a very indirect. The same polished concrete floor contributes actively reflect light.
The lighting is then integrated by a system of spotlights placed at a considerable distance from the works, so as to maintain the effect of diffuse light and avoid glare.

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Rafael Moneo, Kendall / Heaton Associates
The Audrey Jones Beck Building - Museum of Fine Arts
Houston (Texas)

The Law Building was constructed in 1924, expanded to a design by Mies Van der Rohe from 1958 to 1974 and further enriched with a Garden Sculpture by Isamu Noguchi in 1986.
The new extension, which became necessary as more exhibition spaces, offices, workshops and car parks, is as clear a block of stone, shaped by the rigid and solid surface.
lighting is in fact totally entrusted to skylights, with forms and different solutions depending on the environment, the amount of light required and the need for filtering or not.
The entrance with double staircase, is emerging as a large and airy space flooded with light through a thick sequence of repeated and skylights, as in the Florida Gulf Coast Art Center, take the light side and the mirror inside, reflecting on the white walls.
The showrooms have also lined up a series of skylights that bring light directly from the percent of the ceiling, but they are shielded by small vertical baffles that increase the reflective surface. The paintings are placed at a considerable distance from the light source and a set of artificial points of light shines on them individually.

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Busmann & Peter Godfried Haberer
Wallraf-Richartz Museum Ludwig
with the Philharmonic
1975-1986
Cologne




The building stands in the Cologne's most monumental, along the footpath that stretches from the banks of the Rhine to the Gothic cathedral, and is designed to accommodate the collections of two museums, plus the system of services for the public, a multipurpose room and a foyer.
Everything revolves around the staircase and the building is characterized by a marked repetition rest in form, in dialogue with the formal rigor of the cathedral.
The main theme of this museum is its light, filtered by a high number of shed specifically designed for the best yield.
The section is a combination of a circle and a square, the light floods in through the glass tilted, curved surface and is reflected in the rain to the 'internal', with a very natural way. The artificial lighting, reduced to its essentials, has a marginal role.

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James Stirling, Michael Wilford & Associates
Clore Gallery and the Tate Gallery extension
1980-1987
London





The expansion of the Tate Gallery is designed specifically to house the collection of paintings and watercolors by John Turner.
The building is characterized by compositional and functional autonomy, even though it follows the traditional structure of the museum of the nineteenth century.
both outside and inside there is a desire to give importance to color, with a careful study of the varied and wall surfaces (treated with different textures and bright colors) and with steel frames and finished with enamel shades lit.
The lighting system is highly sophisticated, Joint - based on the mixture of natural light and artificial light - and equipped with sensors and computerized systems to maintain constant light intensity and changes to internal and external. The visibility of the panels remains the same throughout the day, but the viewer is denied the ability to perceive light outside, and then seizing the day progressed and the various phases of the day.

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Renzo Piano Menil Collection

1981-1987
Houston









The Menil Collection is located in a residential neighborhood consisting of single-family homes in Houston and this takes the form of horizontal roof in an attempt to integrate visually in context.
The choice of materials for the exterior finish is rational in that context.
The image is of a domestic space, deliberately anti-monumental.
The interior is divided into two sections: one used in laboratories, offices and warehouses, the other used as exhibition space, divided into primitive art, contemporary art, modern painting and sculpture.
The essential element of the museum consists of the prefabricated ferrocement panels, repeated three hundred times and designed to ensure maximum contribution possible light. These panels are mounted on a lightweight cover, the surface treatment which allows the reflection of light on both sides.
The brightness is given by the white walls and dark wood floor and this gives the building a unique character and prestige.
The ten thousand works of art are displayed in rotation for one month a year, while the remaining eleven are kept in storage under the strict control of moisture and light.

> http://www.architektur.tu-darmstadt.de/powerhouse/db/248, id_19, s_Papers.fb15


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Richard Meier & Partners Architects
Ara Pacis Museum
2006
Rome

Finally a building in Italy, the new Museum of ' Ara Pacis in Rome.
The first museum was opened in 1938 and it was a very special exhibition space: it housed a collection of works of art, but one big jewel, the altar built by Augustus to commemorate their businesses to the north of the Alps between 16 and 13 BC
The discovery of the artifact had occurred randomly in the sixteenth century, but the recovery and reassembly of the fragments was only possible in the first decades of the twentieth century, placing the altar in a pavilion specially built along the Tiber.
During the Second World War the hall was partially dismantled and the altar, protected by sacks of pozzolana and then with a shield wall, remaining in this state until 1970.
The New Acropolis Museum designed by Meier has a system much more airy.
is accessed by a dim light environment in which you do not have a view on the altar, then to enter the spacious dining room window in which the monument is bathed in natural light. A third room contains the fragments not relocated in the reconstruction and relief some of the 'Ara pietatis .
The glass shell has been studied carefully to avoid the 'cage effect "of a lattice structural and too dense to filter light, while maintaining its naturalness.
This is an envelope of 1500 square meters of tempered glass, two layers thick with a gap of 12 mm and argon gas with a layer of noble metal ions to the filtering of light, composed of large sheets up to three meters five.
This system, in addition to filtering radizione solar, also meets the requirements of transparency, sound absorption and thermal insulation.

> http://www.arapacis.it/sede/il_progetto_meier

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Marco Sammicheli

Friend "Salt" in the sense that if we want is the pioneer of fly fishing at sea.

E 'was the first to believe in the great potential that the "Mare Nostrum" can demonstrate, fishing from the rocks, beach, boating and kayaking.

Certainly the presence of fish may be lower than in the tropics, but also in our sea fish are and he showed that.

has written a book on the techniques of PAM salt, rich in detail and different types of imitation.

has a site devoted exclusively to fly fishing in the sea (see link at the side of the blog) and if you want make you aware of what Mark and his friends combine .... go there and be surprised!

I had the pleasure of fish together with him and his friend "Pipi" (Maximilian) this summer 'to' Argentario, very nice company and really exciting when you consider the type of fishing that is going to do.

We were fighting all night and part of the morning with the Luccetti sea.
E 'always generous with advice, even with people like me who does a lot of questions, but has little time to attend the sea as it does him
That his patience ... demonstrated on the field .... but also for his sympathy deserves a place of honor in my Blog.
Grande Marco!

Jayne Mansfielda Christian?

SanJuan WORM

We will now one of the imitations I love most of all, both for ease of construction and for its great effectiveness as a catch to different types such as salmonids and cyprinids.

A little 'history .... I quote "This imitation was born in the mid-eighties in the U.S. thanks to Mr. Authorized holder of a Fly Shop on the banks of the Maas River in New Mexico San Jaun ... .. the need was to imitate the many chironomi larvae and worms in the river water throughout the year, as well as those that fall into the water after a storm. ... loved by Carpe and more. "

Simple ideas, imitation Winning. ... let's start with the materials.

Hook: 12 to 8 Grub
type wire drawing: Same color of the body or the brightest to create a contrast with the rings
Rigaggio: Tinsel Copper-colored or red fine to medium
Body: Ultra chenille in red, brown, chartreuse

1. We install a hook type grub, with the loops slightly bent at the top and wrap the wire assembly to the curve

2. We set the bend a piece of copper wire or the red rigaggio

3. At the same place we fix our little piece of red chenille

4. Place the wire behind the mounting eyelet of a hook and passing on to form the chenille to the hook eyelet stesso.Poi stare at the wire to wrap up the crown with the rigaggio several steps.

5. Stop with the tinsel wire assembly and cut, then we close our imitation with some knots of closure.

6. Take one end and burn with a slightly lighter.

7. In order to obtain a slight taper


8. We also do the other end is fake and imitation. ... No good!

the same system if they can make many different colors and with

The classic is the red one, which I use frequently during the winter in lakes for trout, together with a flag on the final usage slowly with long pauses.
San Juan worm in water collection has a shape and soft, just like that of a worm that goes down to the bottom or along a river at the mercy of the current. In

river many times is critical when you are snubbed fish imitations.
The San Juan worms and do not lose their wariness never betrayed especially when the water is dirty or sheer hard I did not take with this imitation.

The color yellow lately I am using it with carp and I have to say that it works very well.

One last thing small in size, type of love at 12 or less is used in the rivers on the Barbi who are attracted by red

and .... People of marine fishing for mullet ... .. and you'll know about this subject to say more this summer after my return. Hello

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Trout Lake Park is a few kilometers from Rome on the Via Cassia Km 35 exit to a Deck, a green oasis close to the Monte Gelato waterfalls (Valley Park Treja). Well-kept houses and a few trout in abundance over the seven kilograms in the lake are also some beautiful trout, salmon and rainbow trout.

Why do I ......

primarily for the operator Alessio, smart guy, serious and follows the lake and its guests in a special way ... the other for its sandwiches to sausage really great ... try it.

After the work of emptying the lake this summer has taken on a wonderful feature to have the crystal clear waters and does not render the idea.

For me I do fly fishing a fun, actually find themselves exposed to fish in a pond is really a pleasure to charges added, that once established, it is difficult to give up.

The trout then respond very well, and combative smalizziate to fish so that use wires to tap fluorcarbon too thin.

Then when you glimpse the big trout go around ... the only hope is ..... take it!

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Mauro Pitorri

First of all, a great friend to be available first to its reputation.

Fisherman full 360 ° all that has fins and breathe with gills He hardly has not taken.

lives in Rieti, devotes much of his time to the care of places and fish in the Reatino.

In the first person is dedicated to the development of fly fishing in the province of Rieti , who practices with great competence and skill.

writes for various magazines and is an excellent manufacturer of artificial flies and more.

To him I owe much of my experience of fishermen in the Velino River and Canal Santa Susanna, but also in the quarries of the beautiful, thanks to funzionali imitazioni, che ha ideato.

Persona che stimo molto e mi sembrava giusto e doveroso inserirlo in questo mio Blog

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Pesca al Laghetto - Prima Parte
(L’Attrezzatura)

I mesi avanzano, il freddo un po’ meno, ma l’idea di recarsi al lago e farsi una bella pescatina a Trote mi prende parecchio.

Diamo quindi un’occhiata all’attrezzatura necessaria per una nostra sessione di pesca.

Cosa portare…..tengo a precisare che per iniziare basta una canna, una coda del tipo galleggiante, finale conico o a nodi, alcune bobine di filo e qualche mosca….che poi vedremo in dettaglio.

Ma l’esperienza di qualche anno consiglia qualche accessorio in più….ognuno poi è libero di scegliere, il tutto comunque sta in una borsetta o gilet da pesca….eccetto la canna

Cominciamo…
La bollata è il momento più emozionante anche in lago .

Canna
9 piedi coda 6 è quella che preferisco, copre tutti gli utilizzi non è light, ma nemmeno pesante si riesce a fare la distanza e permette, quando serve di lanciare a vento. Molto spesso l’abbino ad una 10 piedi coda 7 molto utile, quando le trote stazionano a centro lago.

Quando non c’è vento utilizzo una canna sempre da 9 piedi coda 4, è un po’ come pescare light, il pesce lo senti di più e se scappa la trotona il divertimento è assicurato.

Le Code

Le mie preferite..

La prima scelta ricade sul tipo galleggiante con profilo conico decentrato sulla punta quindi una WF (weight forward) questo perché ci permette di fare la distanza, quando serve ed aiutarci con un po’ di vento. Una buona percentuale la nostra azione di pesca sarà effettuata con una coda di questo tipo, per cercare le trote in superficie o su un fondale che non supera i tre metri.
Il colore non è fondamentale, anche se io personalmente cerco code di colore sul verdino perché si mimetizzino better water. There are types with the end of about twenty centimeters of orange colored which helps as an indicator of bite, but later we'll talk.
Sometimes, however, that the bottom of the Trout stazionino, during very cold or hot, and during the spawning and here we are two other types of intermediation and un'affondante code.

The tail term, the same profile of the float (WF), has a transparent color in the last 9 or 10 feet or completely, and has the characteristic to sink gradually.

This allows us to bring our imitations at depths of over three meters, but very slow and natural, whereas the flies are made of feathers, also the same movement taking nell'affondare can stimulate an attack.

The tail sinking, there are various types, but those that work best are those that sink like stones in Tungsten.
This allows to probe the tail end when the trout stationed there for the cold or in the period of care, by going to bother with imitations very special that we will see later. ... I have the curiosity you create.

A note in using these two types of code, being heavy cast with ease, but for this we must wait until the tail came out of the water to carry back the launch, it would load first too the barrel with the risk of breaking it.

a little practice and it is easy to use, I think the key to bring always with you, if ever. ... Maybe if I used ... if I felt the end .... We understood

A variant of the code are sinking heads from shotting

are the lengths from 8 feet or 5 feet, with different degrees of sinking, Fast, Super Fast and Super Extra Fast Sinking already prepared with the loop and a bit transparent. These

, connected to a floating tail loop to loop through a node, allow to work on medium and large depth.

It 's a good solution, but a slight difficulties in launching the creation whereas we have a tail that pushes decentralized and heaviest piece attached to its end with a mobile node. ... but you can do and the result is guaranteed.


After climbing. ... Start the fight. ... And the tension is mounting

The finish usually on barrel length (9 feet) and then no more than three feet, may serve in some cases, a longer final 12 feet, when the trout stationed in surface and tap be long to avoid crashing into the corner too close and put them to flight.

The finish can be either a cone (from a 0.60 / 0.50 and arrives at a 0.16 / 0.12) in un unico pezzo, oppure del tipo a nodi più fai da te e adatto alla PAM, una soluzione comoda potrebbe essere (lunghezza in cm./ diametro in centesimi di mm.): 70/0,60 – 30/0,50 – 30/0,40 – 30/0,35 – 70/0,20 – 40/0,18 – 30/0,16.

Entrambe le soluzioni sono valide per il lago e non creano troppe differenze, personalmente uso molto spesso quello conico che finisce con uno 0,16 o 0,14 a cui attacco con un nodo loop to loop una ventina di cm. di monofilo dello stesso diametro o poco di meno e la mosca.

In alcuni casi mi costruisco un finale a nodi partendo da uno 0,25 – 0,20 – 0,18 – 0,16 della lunghezza della canna, quando monto due o tre imitazioni per sondare vari strati dell’acqua.

Una precisazione, questi finali vanno bene, quando si pesca con coda galleggiante, per le code affondanti si usa uno spezzone unico di monofilo (uso normalmente un fluorcarbon) dello 0,20 o 0,18 al massimo 1,50 Mt. Questo perché l’azione di pesca che si fa deve permettere un giusto movimento e buona sensibilità della imitazione attaccata. Il diametro poi non conviene mai farlo scendere sotto lo 0,18 visto che le abboccate sono normalmente violente e se capita la Trotona il rischio è rompere tutto anche perché l’azione di pesca si svolge con canna bassa verso l’acqua in direzione della coda.
Piano… piano si stanca….la moschino nonetheless done its duty.

Another accessory, but not least, is the Strike Indicator.
They are, as the name implies the indicators to be affixed to the final, essentially of two types, with elastic foam in the middle to block or paste which hardens in contact with water.

very controversial element, which makes some people think fly fishing is very similar to other sports fishery less "noble" and those who see it as a sinister ploy to make catches at any cost and those who, like myself, it care labels or other dogmas and applies it to its end without too much trouble. Reviews are part of a
moments in sport fishing in a pond, where only a small nymph or still suspended in mid chironomo 'un'abboccata water can raise some of the finest trout.
.... ... Slowly. Tired you bring to the bank ...

by usage that we do, we must choose the most suitable model for our fisheries.
color, size and silhouette, this plays a key role on the distance and weight of fishing imitations that should trigger on the terminal.
Once the pond, we should then determine the best depth of fishing, which is not easy, according to the trout if the surface or in depth, ma questo lo vedremo in un prossimo capitolo dedicato all’azione di pesca.

Cosa importante comunque è che il segnalatore funziona soltanto se il terminale è ben teso, così da produrre un affondamento o semplicemente un sobbalzo del nostro piccolo “ galleggiante” all’abboccata della trota….cui dovrà seguire una ferrata e se pensate sia facile, provate!

Considerazioni finali
Pescare in un laghetto sportivo, c’è chi considera questa idea con disprezzo, perché poco si addice ad un pescatore PAM.

Personalmente penso che quando riesco a ritagliarmi quelle poche ore per la pesca, che sia in un laghetto sportivo, in riva ad un fiume o meglio su di uno rock in the sea nothing is worth that magical feeling that this type of fishing gives me the important fish remains for me anyway.

The lake is a sports environment is not easy to interpret, however, must be able to read several variables and this is, in my opinion, a good gym to attend.

forgot ... In the end ... we welcome the photographed.


Hello

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Walking Velino ...

In the province of Rieti, runs one of the most beautiful rivers of Italy Velino.

Its waters are truly stunning, clear and bright with banks rich in vegetation and plants whose roots end up in the river, giving it an even natural and wild.

The purity of the water allows for peaceful growth and well-oxygen-rich sap in which lie the beautiful brown trout and rainbow trout but also for the Grayling and beautiful areas outside the city before coming into contact with some of the streams from which it receives also the waters of beautiful Lucci.

A great job done by the province but also from people who make a passion of fishing first and then a job, this year has allowed a great restocking of fish but also great for the livery for their fighting spirit, not to mention the trout here know how to "read and write ... .. ... .." and this makes it even more attractive exits and catture.quando these occur.

discuss the treatment of Velino citizen, that is a no-kill area that flows into the heart of the city of Rieti.


This section specifically marked by signs, covers an area of \u200b\u200bonly fly fishing, including the old Roman bridge

Rieti which connects the center of the outside of the city, a feature of the place are the people who passed the bridge over the fateful wish you "Good P *** in 'as if it were enough ... .. that is so beautiful place that you notice, even for trout and then take them the same.


salmonids that inhabit the Velino is unique. Normally, the average size is about 30 cm in length up to 50-55 cm. Very lively and spirited, yet very selective in the choice of imitation, once hooked a trout of this magnificent river must engage in a good fight for expressing the strength that is above the average normal trout river. The livery
speaks for itself ....

The technique used is different depending on the time and the time we meet in the morning (at least in the early months of the opening) tract in the city Velino is very high and fast fishing is best suited to heavy nymph imitations of using large and weighed down by a few turns of lead that will soon reach the bottom or Portas, very functional in this river.

Early in the afternoon, the water goes down, this works for a closed downstream of the river trout begin to boil for the departure of some broods of insects, and then go ahead for a dried fish.

The fact remains that it is very different in its course can be fished dry during the morning and vice versa.

conclude by saying that to take up fishing in this beautiful river, but also in the waters of the Province of Rieti need a special card issued by the province itself and fishing in no-kill a special permit per year.

What I have written here is the result of months of experience of the river ... .. in fact .... Having the opportunity to fish with waders and advice of friends with whom I had the good fortune to fish as Mauro Pitorri ... legend "Fly Rieti.


Hello Everyone ... ..

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I was born November 28, 1966 and live in the Province of Rome.

My father sends me this wonderful passion ..... Fisheries.

With just twelve he began to fish in the lakes and to participate in first Garette around Lazio, Unforgettable moments when the reeds from the tip and earthworms were the ultimate expression of trout fishing.

His untimely death brings me to a block of passion for years until 2003 when, thanks to my children like my resume. Groundhog Day in the lakes with the new and modern fishing techniques .... but with my old canes still something you take.

ledgering I dedicate myself to meeting new friends and pushing me into the Tiber river as well as lakes, always with my children who are with me and I encourage fun, challenging fish sizes and other measures.

brief period in spinning, but it is three years that I was struck the technique of fly fishing.

passion for fishing has taken me this has documents on building, buying books and DVDs. Knowing that people of this fishing makes it a job and a Pasion for years, however, always available for any advice.

spending hours and then try to build my bait, along with my children, I hope that one day they will learn this wonderful "expression" Fisheries.

I go to the river and the lake, which I still think an integral part in the luggage of each fisherman, ranging in fly-fishing for trout but also carp, Amur to the Sea and more. Recently I

the manager of a space dedicated to fly fishing, on a site dedicated to friends fishing. Why

BLOG ..... Why

to my nature, I like to convey to others my passion and experience, first my children and meet other people who share this passion.