Description

The Ospedale degli Innocenti in Florence is one of the most important buildings of the early Renaissance in Italy. Built by Filippo Brunelleschi from 1419 onwards, it was originally a children’s orphanage. The formal clarity and order in the long building’s rows of arches and the fine articulation and clearly contrasting sections of the walls make it an outstanding example of architecture from the time. The orphanage and hospital, which served this purpose up until 1875, was financed by the Silk Guild of Florence. Today, the building still has a related mission. The rear part of the building houses a nursery school, the Istituto degli Innocenti, a research centre for children’s education and a branch of UNICEF Italy.

With a documented history stretching back 500 years, the exceptional and indeed unique institution wished to present exhibits from its archives in a museum and at the same time to modify the spatial organisation of the overall complex. As the different uses were housed in various sections, built successively over the years, the task was exceptionally complex. The need for a new entrance to one side of the row of arches was particularly difficult. The architects inserted two portals made of polished brass, which in their opinion do justice to the significance of the building for the city, while also signifying the new insertions behind the walls. The intervention proved contentious. Apparently, the conservation authorities had not fully understood the design when they gave permission for the project.

The right-hand entrance is located in an extension to the 1843 building and thus not part of Brunelleschi’s original façade composition. At first one barely notices the two entrances on the large square, but as one approaches, they become more and more apparent, signalling the treasures to be found behind them through their precious material. When the museum opens, they fold slowly upwards and outwards to form a small canopy. At the same time, the left-hand entrance to the museum shifts forward slightly to form a box-shaped porch. The right-hand entrance provides access to other facilities in the building. In the limited space in front of this entrance, a ramp has been placed at an angle to the podium of the row of arches. The need to provide barrier-free access necessitated the most significant interventions directly behind these two portals.

The entrance to the new museum used to lead into the vaulted cellar and storerooms. Behind this entrance, a new level was inserted to create space for a sufficiently large entrance area and now leads to a staircase from the 17th century. In this entrance, lined with dark grey Matraia stone, narrow windows open onto the adjoining loggia and the small courtyard. A curved ceiling directs visitors down to the basement, which now houses the exhibition on the history of the orphanage. The low vaults have been renovated and the walls lined with display panels for the exhibits, set slightly in front of the walls. Grey and black dominate, especially the impressively smooth concrete floor screed, while the lighting design creates a pleasant interior, which is especially important given the windowless rooms.

A new staircase has been inserted behind the second portal, that is both restrained in its detailing but also demonstratively modern, with painted white solid steel balustrades that give it a sleek sculptural form.

The small Pinakothek is located on the upper floor above the loggia. Along the narrow hallway, display walls protrude at an angle at intervals along the long passage, providing additional wall space and hanging flexibility.

In the loggia of the taller section above the courtyard, where the children used to play and dry their clothes, a museum café with wide movable glass walls has been installed with a new wood floor and lightweight coffered ceiling frame. The result is a wonderful space presenting a view over the roofscape of Florence towards the dome of the cathedral and the hilly landscape of the hinterland beyond.

Originally published in Bauwelt 08.2017, pp. 34-41, abridged and edited for Building Types online, translated by Julian Reisenberger

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