Fellini Museum B1

Public Works Department HEADQUARTERS: Via Rosaspina, 21 - 47923 Rimini Tel.+39 0541/704923 Public Construction and REGISTERED OFFICE: Piazza Cavour, 27 Promotion of Cultural Heritage Sector Tax code and VAT no. 00304260409

FELLINI MUSEUM

TECHNICAL AND ECONOMIC FEASABILITY STUDY

Sole Project Manager: B1 - PRELIMINARY Engineer Chiara Fravisini REPORT

Designers:

Architect Federico Pozzi FEBRUARY 2018 Architect Francesca Dellarosa

PRELIMINARY REPORT

1. THE PROJECT Rimini is the metaphor of a piece of Italy that is permanently living the “dolce vita”, the eternal nostalgia for universal dreams built on childhood. Rimini owes this to its history, to the personal nature of its inhabitants and to Federico Fellini whose cinema was, on the whole, created based on the memories of his adolescence and youth spent in Rimini. Rimini – or rather Ariminum – is a Roman city with a history spanning over 2,000 years, of which important traces remain, including the Arch of Augustus, the amphitheatre, Tiberius’ Bridge, in whose river basin the Arena on the Water has recently been built, and the Surgeon’s Domus, a unique archaeological find in Italy, a sort of mini-Pompeii in the heart of the city.

At the same time as Dante was writing his Divine Comedy, in the early 14th century a school of art was founded in Rimini inspired by the work of Giotto. It represents one of the key chapters in the history of art and the Municipal Museum boasts The Last Judgement and other pieces by Giovanni and Pietro da Rimini, the most famous exponents of this school.

Rimini was a feud of Sigismondo Malatesta who commissioned two of the most important buildings of the Italian Renaissance – the Malatesta Temple, a masterpiece by Leon Battisti Alberti, and Sismondo Castle, the only surviving example of military architecture designed by Filippo Brunelleschi.

Rimini is also the city that hosts Amintore Galli Theatre, a Neoclassical masterpiece by Luigi Poletti that was inaugurated by Giuseppe Verdi in 1857 with a performance of Aroldo; it is one of the most remarkable examples of 19th-century theatre architecture. However, it was heavily damaged by bombing in 1943 and only now, after decades of lying abandoned, is a complete refurbishment project returning it to the city.

The city’s artistic heritage is unique, boasting a cross-section of the history of Italian art condensed in a quadrilateral of just a few thousand square metres; a compendium of beauty that Rimini is recuperating and promoting thanks to a redevelopment project that, in the space of just of few years, will replace real estate driving forces with a network of cultural venues of international importance and will recover spaces that have always been used very little by the community.

An infrastructural upgrading and territorial recovery project capable of attracting hundreds of thousands of new visitors and consolidating and renewing the appeal of Rimini as a tourist destination of international importance. As part of this process that will redesign the future urban layout of the city and its old town centre, the key role of catalyser and promoter of community identity will be played by a museum complex, called Fellini Museum, based on the development of three axes that correspond to three functional spaces that are separate but complementary: Casa del Cinema, on the upper three floors of Palazzo Valloni, which on the ground floor houses Fulgor Cinema, the cinema Fellini made famous throughout the world when he paid tribute to it in Amarcord, Sismondo Castle, the 15th-century fortress designed by Brunelleschi, and a large pedestrianised urban area, called CircAmarcord, that will be the connective tissue between these two buildings of extraordinary architectural and symbolic importance.

THE MAJOR NEW CULTURAL DRIVING FORCES

2. THE OBJECTIVES The museum, which will be the first in the world dedicated entirely to the work of Federico Fellini, does not intend to be a conservation museum in the traditional sense – in other words, a museum dedicated to collecting and displaying more or less evocative relics and mementoes – nor does it intend to be a purely celebratory institute that focuses on the linear and chronological reconstruction of the filmography and biography of the Rimini-born director. Instead, it aims to become: - an internationally-renowned Italian institute of excellence; - a place for training, information, research and dissemination capable of offering a range of visitor experiences depending on the specific interests (school, general, specialist) and language and accessibility needs (physical and sensory) of different potential benchmark publics; - a space that is innovative and experimental in terms of layout and use and oriented in a strongly participatory and multisensorial sense; - an emotive, poetic and spectacular environment that renews and updates its significance and content at appropriate intervals; - a scenic-narrative machine that re-elaborates and interprets the rich artistic and documentary heritage available.

3. THE AXES 3.1 Sismondo Castle The fortress-residence of Sigismondo Pandolfo Malatesta, Lord of Rimini from 1432 to 1468, combined a celebratory intent with defensive needs. Ordered personally by Sigismondo, demolition of the buildings between the castle and the municipal square consolidated its commanding position with the imposing building dominated the offices of municipal and religious power. The fortress was especially impressive due to its imposing towers and escarpments, wide moat and grand keep, which was plastered white and stood out against the red of the entrance tower. The defensive apparatus, built thanks to the advice of Filippo Brunelleschi, also boasted firearms. Work began in 1437 and continued for about 15 years, although the residence was lived in from as early as 1446. Today, only the central nucleus remains of the original building, which we can see portrayed on the medals of Sigismondo and frescoes by Piero della Francesca in the Malatesta Temple. In fact, the entrance portal is still topped by an inscription and the coat of arms bearing an elephant, rose and checkerboard, symbols of the Malatesta family.

After becoming a Papal fortress, in the 17th century it underwent far-reaching modification; the perimeter wall was demolished, the moat filled in and the furnishings removed. In was a prison from the 19th century until 1967 and then underwent further extensive restoration work that began in 1994 and was completed in 2010.

Rooms in the castle will have to be arranged to host various activities including:

 permanent and temporary exhibition spaces;

 complementary activities (ticket office, bookshop and food services, the latter with an external entrance, separate to the museum so it can be used independently in terms of opening times and days);

 additional and back-office activities. For a full description of Sismondo Castle and its current state of conservation reference should be made to the technical and illustrative report (Attachment B2).

3.2 Fulgor - Casa del Cinema (Palazzo Valloni) Palazzo Valloni is an 18th-century building whose façade was designed by one of the leading exponents of the Neoclassical period, Giuseppe Valadier. Following the earthquake that razed the city to the ground in 1916, Palazzo Valloni underwent initial reconstruction designed by architect Addo Cupi who came up with the idea of allocating part of the ground floor to a cinema. It is here that the Fulgor Cinema – which had been inaugurated just a few years earlier, in 1914, in the rooms of nearby Palazzo Romagnoli – moved to at the end of the 1910s. Given that it was a strategic junction between north and south and that it stood on the Gothic Line, during the Second World War over 80% of Rimini was destroyed and Palazzo Valloni too was hit during one of the 386 bombing raids the city was subjected to between November 1943 and September 1944. Since then and until the renovation work that was completed last April, the building only underwent partial and fragmented refurbishment. Over the years, this led to the upper floors being abandoned leaving only the ground floor, which housed the cinema as well as a municipal pharmacy, still usable. Based on a design by architect Ennio Matteini, the renovation work just completed introduced two new structural elements compared to Cupi’s plan: the use as a cinema of the entire ground floor, adding a second smaller cinema to the Fulgor’s historical one and the addition, without extending the building, of a third floor. Called Fulgor - Casa del Cinema, the museum axis hosted in Palazzo Valloni will occupy the upper three floors and will be accessed from Piazzetta San Martino via an entrance that is separate and independent of the two cinemas.

As well as exhibition spaces, the three floors will also host a ticket office, a bookshop and a cafeteria. For a full description of Palazzo Valloni and its current state of conservation reference should be made to the technical and illustrative report (Attachment B2).

3.2 CircAmarcord Featuring green areas and arenas for shows, CircAmarcord will be a large arts square located in a pedestrianised urban area covering approximately 15,000 m², between Piazza Malatesta, Castel Sismondo, Galli Theatre and the Fulgor-Casa del Cinema. More specifically, it will be the venue to host Fellini’s diffused theatre and will include an itinerary featuring installations dedicated to his films and the characters he created. The itinerary will wind its way around Via Verdi, Vicolo Valloni, Piazzetta San Martino, Via d’Azeglio, Piazzetta Sferisterio (an opening at the end of Via d’Azeglio near the staircase access to the car park on Via Circonvallazione Occidentale), Piazza Malatesta, Via Poletti and the accesses behind Castel Sismondo on Via Circonvallazione Occidentale.

General Layout of Fellini Museum (Attachment D2)

4. THE RULES In relation to both the works to be carried out and the objectives to achieve through interventions, all existing applicable laws must be complied with, particularly with regard to: - health and safety in the workplace; - technological systems to be installed pursuant to Ministerial Decree no. 37/08; - energy saving; - CEI - UNI - CNR regulations; - removal of architectural barriers; - fire prevention; - construction site safety, with particular compliance with Chapter IV of Legislative Decree no. 81/08 and subsequent modifications and integrations. The project proposal should be drafted in order to acquire all necessary authorisations and views pursuant to existing applicable law, with particular reference to the compatibility of the intervention with the historical-architectural features of the buildings and the context, which are subject to restrictions by the relevant Superintendence of Archaeology, Fine Arts and Landscape. The project should also take into account: - Ministry of Cultural and Environmental Heritage Decree no. 569 dated 20 May 1992; Fire safety legislation for historical and artistic buildings destined for use as museums or art galleries or for exhibitions; - Ministry of Cultural Assets and Activities Decree dated 10 May 2001, Official guidelines on technical-scientific criteria and on the standards of functioning and development of museums; - Ministry of Cultural Assets and Activities and Tourism Decree dated 30 June 2016, Criteria for opening to the public and the supervising and safety of state museums and cultural venues; - Legislation relating to libraries, historical archives, museums and cultural assets approved further to Emilia-Romagna Regional Law no.18/2000; - Regional directive on museum standards approved further to Emilia-Romagna Regional Board deliberation no. 309/2003; - Criteria and guidelines for recognising regional museums based on the quality standards and objectives pursuant to Regional Law no. 18/2000 approved further to Emilia-Romagna Regional Board deliberation no. 1888/2008.

5. THE NARRATIVE The narrative structure of the museum should develop around a network of itineraries that will guide visitors on a journey to discover the expressive code of Fellini’s work. As navigation routes these itineraries should provide, at different speeds and levels of depth, elements that are key to understanding the Rimini-born director’s films and their importance, not only in the history of cinema, but in the history of 20th-century art in general. In fact, themes such as memory, magic, erotic desire, often expressed in a comical and grotesque way, artistic creation, spectacle in all its forms (from the circus, to variety, to cinema itself), play, dreams and the subconscious constitute some great coordinates of sense around which the cinema of Fellini rotate and that the museum should develop in order to construct a great catalogue of Felliniesque images. Thanks to the arrangement of the three founding axes described below and within each of these, the museum should be supported by a “screenplay” that guarantees coherence and unity and provides as comprehensive a representation as possible of Fellini’s filmography.

5.1 First axis: Sismondo Castle The internal spaces of the castle are divided into two main bodies: the keep and the Isotta wing. In the Renaissance rooms, thanks to digital techniques and multisensory installations, the castle’s 600-year history will relate to items belonging to Fellini, as well as costumes, drawings, images and sets relating to him. This will ensure visitors experience the environments of the director’s films by, for example, wading through the Trevi Fountain with Anita Ekberg, getting lost in the fog of Amarcord, walking amid the costumes of Roma and Fellini’s Casanova or leafing through the pages of Book of Dreams, reproduced here in 3D.

The five rooms of the Isotta Wing should instead be extremely flexible in terms of layout, installations and lighting so they can be dedicated to hosting temporary exhibitions that will supplement and explain the contents of the permanent displays, drawing inspiration not only from the strict iconography of Fellini’s cinema, but also the general principles of how his films work. For example, the mechanism of the parade, so recurrent in the construction of many of the Rimini-born director’s sequences, offers as yet unexplored possibilities for links to fashion, thus expanding the horizon of analysis to the more complex relationship between the world of haute couture and the seventh art. Initiatives hosted in this section of the museum will also include performances by international artists called to re-enact, re-elaborate and produce original work inspired or dedicated to the themes and atmospheres touched on in the Fellini’s films and propose new interpretations of the same. The castle will also have to dedicate either permanent or temporary space to the relationship of Fellini’s cinema with art, literature, music and theatre. Through the work of the Rimini-born director, in which cinema was able to fully express his interdisciplinary vocation, the 15th-century Malatesta Fortress becomes an incubator of ideas in which different ancient and contemporary artistic practices work together to produce new project ideas.

5.2 Second axis: Fulgor - Casa del Cinema Fellini made Rimini a province of the soul, a legendary and mythical place. Narration of this transfiguration begins at the city’s cinema – the Fulgor – where the young Federico discovered the lure and visionary power of moving images; a fatal attraction that sealed the destiny of the future 5-time Oscar winner. It is known that Fellini did not shoot a single frame of his films in Rimini; he always created “his Rimini” elsewhere.

Rimini is in the caricatures of famous actors he created in his youth, it is in Amarcord, as well as in I Vitelloni, in The Voice of the Moon, in 8 ½, in Roma, in The Clowns and in City of Women. And not only in his films, Rimini is also in the cartoons of the satirical magazine Marc'Aurelio, in the treatments and subjects that never made it off paper, in drawings and in dreams, in photographs and in interviews.

The first two floors of the Fulgor should develop and reinterpret the relationship between Fellini’s land of origin and all his work, in a game of references to reality and the imaginary, to memories and dreams, to history and artistic expression, with a particular focus on the contribution the poet and screenwriter Tonino Guerra made to the poetic blossoming of this relationship.

The third floor should be designed as a loft living space: an informal space in terms of how it is used and free in terms of content development, a space open to research into new solutions to explore and reinterpret Felliniesque imagery, a space for experimentation, where visitors can enjoy the images of Fellini films, even on demand, rearranged and reedited based new themes and formal associations both within his world and from the expressive universe of other directors and visual artists. It will be a space where visitors can slip into that dreamlike atmosphere created not only by the music of Nino Rota, but also all the voices, whispers, invitations and noises that make the soundtrack of Fellini’s films unique.

On the ground floor of Casa del Cinema, with a separate entrance to the museum, the new Fulgor Cinema reopened in January 2018 with two screens and fittings designed by art director, Dante Ferretti, a 3-time Oscar winner who often collaborated with Fellini.

5.3 Third axis: CircAmarcord In this outdoor space, that should develop the more strictly Felliniesque dimension of the museum, visitors will experience the most educational, bizarre and freakish aspects of the director’s cinema. Starting from the exact place where the young Federico discovered the magic of the circus, as Fellini would go on to narrate in The Clowns, a fantastic park will be built to reflect Fellini’s visionary and cinematographic imagery.

CircAmarcord will be a carousel of circus fittings and interactive installations drawing inspiration from the most popular and typical sites, situations, characters and themes to appear in the work of the Rimini-born genius, capable of enchanting and transporting people of any age and culture to another time. The itinerant spectacle of circuses and funfairs, with their dimension of wonder and mystery, should be a plotline that leads back to the poetry of Fellini. Examples could include the whale and Venusia from Fellini’s Casanova, the van from

Infrastructure, Mobility and Environment Department Via Rosaspina, 21 - 47900 Rimini Municipality of Rimini Tel. +39 0541/704923 - fax +39 Public Construction and Promotion of Cultural Heritage 0541/704932 Sector www.comune.rimini.it [email protected] La Strada, the swing from The White Sheikh, the tobacconist and crazy uncle from Amarcord, the slide and hot-air balloon from City of Women, the well from The Voice of the Moon, the Rex and Pataca also from Amarcord, the wharf from I Vitelloni, the Trevi Fountain from La dolce vita and the ramp-spaceship from 8 ½.

6. THE HERITAGE The Municipality of Rimini has the following artistic, documentary and audio-visual heritage available, which should be integrated and promoted: - The Book of Dreams: the diary in which from the 1970s onwards, on the advice of the psychoanalyst Ernst Bernhard, Fellini transcribed details of his extremely fertile dreams. To all intents and purposes, it is one of the director’s instrumental pieces of work and has yet to be fully studied if we are to comprehend its poetry. Inspired by the guidance and tools of Jungian psychoanalysis, it is a piece of work that tackles and re-elaborates, through the use of different artistic languages the dreams, visions and fears of the Rimini-born director. An extraordinary example of creativity that has all the characteristics of a diary and a storyboard and that is rooted in his experience as a cartoonist and humourist working for Marc'Aurelio, preceding by a few decades the language of graphic novels. Images and words that grow freely, page after page, to create a complex and structured work that support the director’s filmography, supplementing it and enriching it with the mediation of dreams; - approximately 470 drawings, a significant example of the director’s extraordinary artistic propensity who not only used drawings to accompany instructions to his collaborators (art directors, costume designers, make-up artists, etc.), but who also drew continually, using any material available to him at the time, from paper bags to cloth napkins and the cover pages of books; - about 30 costumes from Roma and Fellini’s Casanova created by Danilo Donati, who won an Oscar for the latter. There are also some furnishings, including the mechanical bird contraption, from Fellini’s Casanova;

- a series of typescripts: complete or partial screenplays, treatments, scripts and dailies from various films, including Nights of Cabiria, La dolce vita, Juliet of the Spirits, Toby Dammit, Fellini-Satyricon, The Clowns, Roma, Amarcord, Fellini’s Casanova, Orchestra Rehearsal, And the Ship Sails On, Ginger & Fred, Intervista, The Voice of the Moon and The Journey of G. Mastorna, his unmade film. - a collection of about 124 items, including posters, flyers and lobby cards, that accompanied the release of Fellini’s films;

- a collection of almost 600 photographs taken on the sets of all Fellini’s films; - hours of video material from the archives of RAI, Italy’s national TV broadcaster: specials, backstage clips, news services and everything else produced over the years on Fellini; - almost 120 pieces, consisting in scores, soundtracks, notebooks and sheets of 15

notes documenting Fellini’s partnership with Nino Rota; - an archive of hundreds of newspaper clippings dedicated to Fellini from the 1950s until his death;

- a collection of satirical magazines from the 1930s and 40s that Fellini worked for before becoming a director, including Marc’Aurelio, Il Travaso and 420.

- a specialist library consisting of approximately 1,000 publications.

Work Group: Sole Project Manager: Engineer Chiara Fravisini. Sole Project Manager Collaborators: Federico Pozzi, Manuela Masini, Marco Leonetti, Fabio Cassanelli, Francesca Dellarosa and Laura Rossi. Designers: Architect Federico Pozzi, Architect Francesca Dellarosa. Drafting and checking of call for tender procedures: Fabio Cassanelli, Laura Rossi, Angela Vasini, Marco Leonetti, Silvia Moni, Luca Pollio and Luca Vannoni.