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国王长廊收藏着古埃及底比斯城（今卢克索）的巨型雕像，一直以来都是参观Egizio奥博物馆的重点。2006 年，布景设计师Dante Ferretti对展厅进行了改造，将其变成了一个精致的黑盒子。在博物馆即将迎来200周年之际，对展厅进行改造的任务提出了一些重要问题：当这些历史文物作为当代博物馆的中心展品被突出展示时，它们的原貌还能被传达出来吗？展厅能否在吸引广大观众的同时传授深厚的历史知识？

The Gallery of the Kings, which houses a collection of colossal statues from the ancient Egyptian city of Thebes (modern-day Luxor), has long been the highlight of any visit to the Museo Egizio. Remodeled by set designer Dante Ferretti in 2006, the gallery was transformed into an exquisite black box. As the museum approaches its 200th anniversary, the task of renovating the gallery raises important questions: While these historic artifacts are highlighted as the centerpieces of a contemporary museum, can their original context still be conveyed? Can the gallery captivate a broad audience while imparting deep historical knowledge?

▼展览概览，overview of the exhibition ©Marco Cappelletti, courtesy of OMA and Andrea Tabocchini Architecture

OMA为国王长廊的设计重新连接了古代埃及雕塑和它们的出生地底比斯城，而不仅仅把他们仅仅作为当代奇观的主角来展示。新的长廊体验可以用从黑暗到光明的过渡来定义——这一概念也在历史上象征着古埃及的诞生且往往和神与王联系在一起。

▼博物馆历史演变，history of the museum ©OMA& Andrea Tabocchini Architecture

OMA’s design for the Gallery of the Kings reconnects the ancient Egyptian statues to their original context in Thebes, rather than showcasing them as mere protagonists of a contemporary spectacle. The new gallery experience is defined by a transition from darkness to light – a concept that historically symbolized the process of creation in ancient Egypt and is often associated with kings and gods.

▼展厅，exhibition hall ©Marco Cappelletti, courtesy of OMA and Andrea Tabocchini Architecture

参观者通过一条黑暗的入口进入长廊，墙上的投影描绘了Karnak的历史——这里是雕塑们的出生地——创造了一种沉浸式的氛围，将人们带入一个不同的时空。两个发光的开口引导参观者们进入两间明亮的主厅，雕塑静候眼前。

▼入口对比，entrance comparision ©OMA& Andrea Tabocchini Architecture
Visitors are drawn into the gallery through a dark entryway, where digital projections on the walls depict the history of Karnak – the place of origin of the statues – creating an immersive atmosphere that transports them to a different space and time. Two luminous openings guide visitors into the two bright main halls, framing the statues displayed within.

▼穿过黑暗长廊进入，enter through the dark corridor ©Marco Cappelletti, courtesy of OMA and Andrea Tabocchini Architecture

和Dante Ferretti的黑色玻璃设计形成对比的是，纪念性雕像的原始建筑——可追溯到 17 世纪——已被完全挖掘，露出了作为空间特征的拱顶和高窗。这些雕塑完全浸沐在日光中，就像他们在Karnak的原始环境中一样。微微反光的铝制墙体上展现了这些雕塑的历史信息，同时为画廊空间增添了一种空灵的气质。光线穿过屋檐上的窗户，将参观者的视线引向上方宽敞的空间，唤起人们对巴洛克建筑宏伟气势的回忆，同时也巧妙地提醒人们雕像在都灵的当代背景。

▼长廊标识，The Gallery of the Kings Signage ©OMA& Andrea Tabocchini Architecture
In contrast to Dante Ferretti’s black box design, the original architecture of the monumental statuary – dating back to the 17th century – has been fully uncovered, revealing the vaults and high windows characterizing the space. The statues can be bathed in daylight, as they were in their original context at Karnak. Subtly reflective aluminum walls display historical information about the statues, while lending an ethereal quality to the gallery space. Light streaming through the clerestory windows directs visitors’ gaze towards the airy space above, evoking the grandeur of the Baroque architecture, while subtly reminding them of the statues’ contemporary setting in Turin.

▼雕像，statue ©Marco Cappelletti, courtesy of OMA and Andrea Tabocchini Architecture

不朽雕塑的新布局将参观者们带入一段古埃及神庙之旅。第一个展厅的两个狮身人面像在中央面向彼此，两侧是 Sekhmet女神的立像和坐像。这种布局让人回想起神庙的外围空间，包括行宫大道和洒满阳光的庭院。Seti二世的雕塑，原本位于Karnak神庙的国王礼堂前，它矗立在大厅的尽头，标志着体验的顶峰。

▼狮身人面像意向， sphinxes reference © OMA& Andrea Tabocchini Architecture
The new arrangement of the monumental statues takes visitors on a journey through an ancient Egyptian temple. The first exhibition hall features two sphinxes facing each other at the center, flanked by standing and seated statues of the goddess Sekhmet. This arrangement evokes the outer spaces of the temple, including the processional avenues and sunlit courtyards. The statue of Seti II, originally placed in front of the king’s chapel at the Temple of Karnak, stands at the hall’s end, marking the pinnacle of the experience.

▼狮身人面像，sphinxes statue ©Marco Cappelletti, courtesy of OMA and Andrea Tabocchini Architecture

从这里开始，参观者进入第二个大厅，这里参考了神庙的国王和神灵雕像。在这个空间，Amenhotep二世向其他国王雕像敬酒，一组国王和神像按时间顺序排列。大厅中央是著名的Ramesses二世国王雕像。最后展示的是Ptah神的雕像和Amun神的雕像，Amun神的动物化身是一只公羊。

From here, visitors enter the second hall, designed to reference the temple’s inner spaces endowed with statues of kings and gods. In this hall, Amenhotep II is depicted offering wine to other statues of kings, and a group of statues of kings and gods is arranged chronologically. At the center of the hall is the renowned statue of King Ramesses II. The display concludes with effigies of the god Ptah and a statue of the god Amun, represented as his animal avatar, a ram.

▼国王雕塑，King statue ©Marco Cappelletti, courtesy of OMA and Andrea Tabocchini Architecture

国王长廊是Egizio博物馆2024年展览的一部分，该设计通过一系列公共城市房间将博物馆改造成都灵的中心市政空间。在Egizia广场——Egizi博物馆内最大的城市展厅——和Amedeo公爵大街上，长廊无遮挡的窗户向路人展示着古埃及雕像。长廊的入口区域通过拱门连接拱廊，拱廊的传统莲花立柱邀请参观者进入历史的玄关。

The Gallery of the Kings is an integral part of Museo Egizio 2024, a design that transforms the museum into a central civic space in Turin through a series of public urban rooms. The uncovered windows of the gallery reveal the ancient Egyptian statues to passersby on Piazza Egizia – the largest urban room within Museo Egizio 2024 – and Via Principe Amedeo. The gallery’s entry area is directly connected to the Arcade urban room through an arched portal that frames an ancient Lotus Column, inviting visitors to pass through the threshold of history.

▼平面图，plan ©OMA& Andrea Tabocchini Architecture

▼布局，layout ©OMA& Andrea Tabocchini Architecture

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