Antonella Ranaldi, here’s the post Pessina at the superintendence: iron lady arriving from Milan
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Yes, I confirm. From Monday Antonella Ranaldi the new superintendent of Archeology, Fine Arts and Landscape for the metropolitan city of Florence and for the provinces of Prato and Pistoia. herself to confirm it, with a laconic expression that betrays the reserved style that characterized her six years at the Milanese superintendency, which she left yesterday: a brief meeting with the officials called at the last minute to communicate her transfer to Florence , where is it he will take office on Monday and for the next three years. In Milan not even his closest collaborators knew anything, while in Florence for some days the name of who would succeed Andrea Pessina, who left Palazzo Pitti on 14 October last, had already been circulating. After Signor No – this is how Pessina was renamed by his detractors due to the frequent vetoes on requests from Palazzo Vecchio – a superintendent with a profile at least apparently very similar arrives in Florence: a very serious scholar, also a firm supporter of the primacy of conservation with respect to the adaptation of historical assets to contemporary needs, equally reluctant to the media spotlight, little versed in dialogue with political buildings and artistic institutions.
Ranaldi, 62-year-old Roman architect, with behind him mandates as superintendent also in Romagna, Friuli and Veneto, he characterized his Milanese experience for a long and silent tug-of-war with the director of the Pinacoteca di Brera – for years at Palazzo Strozzi – James Bradburne: reason for the dispute Palazzo Citterio, a historic noble residence in which the museum will have to expand. Ranaldi has for a long time carried out a philological restructuring project, with great care in recovering the details of what was once a rich private home. But Bradburne needed the Brera Modern contemporary art museum there, and those spaces were totally inadequate for his vision. In particular, the entrance to a house, however rich and opulent, was not in line with the idea of a modern pole of international attraction. Not only that, the director even disputes the fact that in the name of conservation it was not even planned to modernize the air conditioners. The question was settled three years ago by the then Minister of Cultural Heritage Alberto Bonisoli, who agreed with the director of Brera and gave the green light to move the entrance and build a monumental glass staircase. In Milan there were also tensions over the project for a glass walkway that should connect the two Arengario towers of the Museo del Novecento – for Ranaldi, the walkway would interrupt a visual perspective telescope of extraordinary urban value, between Piazza della Scala and the Galleria Vittorio Emanuele – and for the opinion opposed to the demolition of the San Siro stadium.
His no, they say in Milan, have always been expressed in formal opinions, never with public utterances: no concession to the media controversy, no protagonism, not even when the architect worked on the project she was most proud of, the rediscovery of Milan Roman. In the eternal conflict between ancient and modern, Ranaldi has chosen to defend the former by limiting any adaptation to the utmost. And if for many Pessina’s no to Nardella were partly a consequence of his training as an archaeologist, an anomaly in the world of superintendents, architect Ranaldi seems no less resolute. We have been talking about his appointment in Florence for a week: for this reason, in the handover between the two governments, the hypothesis that the choice derives from the Draghi executive, more than the one led by Meloni. But discretion in Piazza Pitti and will remain law: so much so that yesterday no one confirmed the possible presence of Ranaldi in Florence; and, in what will be his new offices from Monday, the amazing answer to the telephone: Ranaldi? Never heard of this chick.
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November 5, 2022 | 07:08
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