PSI - Issue 29

Michele Paradiso et al. / Procedia Structural Integrity 29 (2020) 63–70 Paradiso, Conte and Prosperini / Structural Integrity Procedia 00 (2019) 000 – 000

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In conclusion, it can be sa id tha t seismic adaptation works on load-bearingwa lls are not necessary at present, while the foundations will be consolidatedwith the technique of sub-walls. 3. Reuse The basic idea of the refunctionalization project starts from the concept, present in the world of restoration, that ancient architecture is perceivable as thesumof infinite interventions by architects, clients and inhabitants. Hence the duty to preserve the existingand restore this wealth to thecity, integratingandenriching it where possible. Thechoice of the MarinoMariniMuseum thereforestems from the desire by theMunicipalityof Pistoia and the Superintendence for city of Florence enhance and give more space to the works of one of the artists of greater value in the city of Pistoia . The conformation of the former Church of San Lorenzo, with the hall punctuated by septa and arches, the wa lls from which the fragments of the fourteenth-century frescoes emerge, the spectacular dimensions of each floor and theseventeen original trusses make this a suggestive and highly suitable place tohost theworks of theartist from Pistoia . 3.1. The project With the a im of creatinganunalteredenvelope that houses newelements inside, a module thesize of a squarewas used. In this way the Church becomes a 70 m container. for 20 m. approximately, divided inside bya grid of squares with which to crea te a systemof full andempty spaces. At the main entrancea central visua l axis has been designed, projected both longitudinally and transversely, which a llows you to admire the origina l height of the main hall up to the roof system in its spectacular trusses and theSanCristoforo entirely and lookinghim in the eyes as traditionwould like. The double symmetrical entrancea llows a division, in addition to an independent access, of the variousfunctions of the newmuseumcomplex. The entrancefromPiazza SanLorenzo, characterizedby thevoids justmentionedhouses access to the permanent room (sculptures), to the exhibition path that leads to the first floor dedicated to Marino's minor works. The second entrance, the rear one coinciding with the apsidal area, is characterized by the floods that crea te a service platewith access to the temporary, permanent exhibitionhall and theconferenceroomwhich is located on the top floor. This a lmost clear division of the buildinga llows us to make the room for the temporary exhibition and the conference room totally independent from the rest of the museum. The original layout of the stairs is used as the ma in connection for the first floor partly dedicated to offices and services and for the top floor dedicated, as we have already said, to the conference room. The idea onceagain is to leave the presenceof the last transformation into a military barracks as intact as possible: the conference room, in fact, is completely glazedand reduced in size .

Fig. 5. (a) Functional model: the exhibition areas in red, in yellow the service areas, functional areas in green and in cyan the multifunctional areas; (b) Rendering of the museum area on the ground floor.

The environment that is crea ted around is a multifunctional space that ends with a large window that a llows a particular and different viewof the entire systemof wooden trusses. As the architectural project intends to make the