The making of Pirelli calendar 2002+Armani. Milan

Armani Theatre. Milan / November 2001 / Armani

The making of Pirelli calendar 2002+Armani. Milan

Armani Theatre. Milan / November 2001 / Armani


The hall of the Armani Theatre in Milan hosts an exhibition dedicated to the backstage shots of the 2002 Pirelli Calendar by Peter Lindbergh.

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Entering the room, original photos personally printed by Lindbergh hang on the walls for a more accurate view of the individual shots. The very same images are hanging across the room at a height of about two meters, so that the individual images overlap and give a comprehensive and varying view on Lindbergh’s work depending upon the visitor’s point of view. Natural light was exploited to underline the transparency effect of the hanging plates, and the direct input of the sun from the skylight was rather filtered with opalescent cloths. The natural light was also artificially enhanced by pouring a greater amount of light on the rear walls in order to increase the overlapping effect of the plates as on a hypothetical big diaphanoscope. Furthermore, in order to enhance the illumination on the images hung on the left side of the hall, a system of ceiling anchorages was realized to hang a number of projectors. The latter perfectly shapes the individual images, so as to create planes of light markedly detached from the wall and allow a qualitatively higher vision of the individual shots.

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The hall of the Armani Theatre in Milan hosts an exhibition dedicated to the backstage shots of the 2002 Pirelli Calendar by Peter Lindbergh.
Entering the room, original photos personally printed by Lindbergh hang on the walls for a more accurate view of the individual shots. The very same images are hanging across the room at a height of about two meters, so that the individual images overlap and give a comprehensive and varying view on Lindbergh’s work depending upon the visitor’s point of view. Natural light was exploited to underline the transparency effect of the hanging plates, and the direct input of the sun from the skylight was rather filtered with opalescent cloths. The natural light was also artificially enhanced by pouring a greater amount of light on the rear walls in order to increase the overlapping effect of the plates as on a hypothetical big diaphanoscope. Furthermore, in order to enhance the illumination on the images hung on the left side of the hall, a system of ceiling anchorages was realized to hang a number of projectors. The latter perfectly shapes the individual images, so as to create planes of light markedly detached from the wall and allow a qualitatively higher vision of the individual shots.

a5-pag-6-ok
a2-pag-8-ok
a6-pag-9-ok
a7-pag-7-ok
pire02new

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