Labirinto Della Masone, Fontanellato

#2 of 25 in Parks in Province of Parma
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Labirinto Della Masone Reviews
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597 reviews
  • Driven by the reputation of this landscape intervention and above all by curiosity for new things, I went to visit the Foundation f. m. Ricci on 5 January 2018. Talk about labyrinth is an understatement, although it represents an almost unique and substantial subject of reviews read, as it is only a part of the whole. The Foundation in fact consists of numerous and powerful building structures arranged in spatial continuity, culminating with the labyrinth, built at the end of it all, as a prospective seabed at the entrance. I read that programmatic intervention of curly was to save a part of Parma's countryside from the invasion of the industrial building, but I had to conversely stated that the impact of the Foundation's structures on the country setting is impressive. The thing is as a new "Temple of Ammon" padano, and actually looks a bit like the composition of ancient Egyptian Temple, with a monumental entrance and then a series of courtyards enclosed on all four sides by massive buildings in succession as to suggest a gerar Chia in March, culminating in the end (coincidentally) with a pyramid-shaped building, a sort of Tomb-shrine that seems to say "here, you've come to the end." Betrayed-in my opinion-the purpose of preserving the surviving narrow green of the Emilian countryside, after leaving the car in the large car park in front of we then proceeded to the entrance of the complex. The whole thing was built of bricks, and remembers the impact in the collection of the ancient walls of Babylon, except those of Fontanellato are not Windows. The vast brick-finished surfaces linear throws in a bit of a State of Visual-mental paranoia that personally demeans a tad but whose monotony of all allows you to reflect on what meaning and artistic value you can ever rest or may suggest an operation of this magnitude. Let me start by saying that the shock of their tickets had been already addressed and exceeded in advance; Oh yes, because 20 euro you pay maybe at the Metropolitan in New York or at the Louvre, but I don't know if it is appropriate to make comparisons. However, the curiosity you will pay, and so here we are there to shell out voluntarily the enormity of ticket cost, the intimate hopes that the much-vaunted labyrinth and the art collections of hedgehogs meet so much money. The first courtyard, surrounded by a large cloister above which are environments for art collections and the Foundation's offices, has a restaurant, a bar and the book shop. This first courtyard opens then via a long walkway to another, large double the space towards the bottom first, running, where you can see the mysterious pyramid; around this second large fence winding maze. Once you pay the ticket; on the right the book shop which in essence is the showcase production f. m. Ricci whose editorial products and does not constitute the essence of the offer. On the left gives access to the collections housed in the upper floors, but first you should face the tree path of the labyrinth of bamboo. Went out from before structure and after riding on one of the two observation towers that should allow an unobstructed view of the maze from above (in January you could not see anything because the bamboo, by its nature, cannot be topiato as a traditional boxwood; then a bamboo maze, viewed from above and in perspective, looks like a thick rainforest and nothing more ...), you enter the maze. Basically it's a labyrinth whose peculiarity is that the vegetative part consists of bamboo plants instead of box hedges: Behold, all news is born and dies here because then, being the largest in the world, is not necessarily a quality. The maze like structure has all its raison d'etre and has its own place in the history of specific Italian garden, a philosophy, a meaning that here, if any, is hidden as the paths that wind underneath the generous fronds of bamboo. Unlike most historical mazes, where getting lost in blind paths that lead nowhere intended as a metaphor for life, here it is unclear the meaning of cemented pathways and what ports the only way out, which ends in a building surmounted by a pyramid – always empty brick-and Golden inside, where is exposed a Baroque wooden Tabernacle of Sicilian origin. What does that mean? A suggestion to salvation metaphysics? An allusion to the deity represented by a kind of altar? And because Baroque? And why Sicily? I an answer I've given at the end, and at the end of my review will explain to patients the readers. The building with the pyramid as the centerpiece of a vast courtyard twice first and like that always surrounded by an identical porch and enclosed buildings whose raison d'etre I missed out totally, you go through a central walkway to the point the entrance to the labyrinth, where you fall in the first block of buildings to go up to the upper floors to visit art collections. These are a collection of more or less valuable objects (paintings, sculptures, objets d'art), whose common denominator, in my opinion, is the taste of those who picked them. There is a common thread, a "why" collectors, common logic, bringing together the collections themselves, but you'd think that the owner has bought what he liked, and judging from what has been said and loved him disparate; one might draw a parallel between this collection and exhibition "il Vittoriale", the House-Museum of d'Annunzio in Gardone Riviera. But the comparison does not hold: the eclectic taste of the poet goes beyond the single object, tends to create an atmosphere, a world of aesthetic sensation in subjects through but not its end, while in the case of collections Ricci speech is just the opposite , that is, the objects are objects for themselves and nothing more; nothing aestheticism, no charm, no spiritual adventure. I'm not arguing about the artistic value of certain objects: the neoclassical busts Gallery has some excellent pieces, as well as sculptures of Erté, alphabet Wildt, bust by Bernini, while weaker is the aesthetic choice of paintings, mostly of little interest. Ultimately, an exhibition of what probably pleases the owner, that is – in my humble opinion – an exhibition of itself. In this sense, despite being grateful to Ricci for giving the world the enjoyment – paying-so much copying objects, I was disappointed with the principle that has moved its collectors, so as I can't give value to the architectural project altogether; I haven't seen innovation, didn't see sharpness in the aesthetic choices, there I see not even a place in the panorama of the architecture understood as art of sort and create space; Indeed, to be honest I think I caught quite a few similarities between this set of bricks and some Las Vegas Hotels: Yes, in Fontanellato lack the illuminations, but don't despair. In leaving the building that houses the collections, you go back down on the ground and before the real one admires the sports car of curls here exposed in order ... Well, I don't know, find it who can. .. To respond to the question left unresolved on the meaning of the pyramid, I think this whole operation synthesized in a poured concrete and brick has a sense of self, just like the pyramid to Pharaoh with the art collections like her outfit, in a process reminiscent of the deification of the ancient Oriental Kings, but if I must, I abstain. Personally I would not recommend this visit but I know curiosity is the same spring that brings mice to remain victims of traps, so you go to admire this modern mausoleum, but you know it then they were not warned.
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  • Unique experience! How do some people to stop at a high price of the ticket and be deprived of visiting a maze so??? Preserved so well and so clean! we route with our dog ... doable for those of us who have an animal and does not want to take him in the midst of the confusion! "while being visited by many people, it's like being alone! staff friendly and passionate! beautiful the view from the top ... deserves a photograph!
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  • The world's largest maze, the labyrinth dearer in the world!!! Because you don't understand that a work so can't cost more than a museum. How many people arrive on site they visited for the cost? What a pity.
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  • Lots of fun with the kids. The location also offers a gift/bookshop with the last copies of the legendary FMR books and publications, as well as a really good restaurant and a food store. Very enjoyable place
  • The collection shows the quirky genius of Franco Maria Ricci, Italian publisher extraordinaire. Friend of Borges and Erté, Franco Maria Ricci (FMR) recruited the best litrary talents and scouted for the strangest visual suggestions; he produced and published beautiful and weird works of art, among which the stunning Codex Seraphinianum. Works by Wildt, Erté, Chiparus and Ligabue are on display. The Labyrinth is a multi-layered metaphysic reflection, an ode to bamboo, and some good sport on top of it (take a picture of the map, it will help you!). Only cloud on an otherwise spotless experience: the food offer (at the Cafè, Bistrot and Bottega) is limited and seriously overpriced. Head to the nearby Fontanellato and stop at the friendly Salsamenteria for a rewarding snack or lunch.
  • Nice place, The tour was good!
  • Somebody at work who had been in Parma recommended this place to me. I told my wife about it and ended up going there with the kids. They and us loved it equally as much. Something different. The museum is worth visiting as well.
  • [BAMBOO] EXPECTATIONS VS reality this is the worlds largest BAMBOO maze. You won't find a big maze and it won't be hard to find the exit. The project itself is nice but lacks consistency. Consistency between what is reported and what actually is. If you go here to find an immense labyrinth are wrong! ... and not a little! The maze is there but is not great (as you would expect from "the world") and it's easy ... perhaps even rightfully ... Expectations clash with reality. --------->>> reality is made of a beautiful maze with a museum consisting of various works (paintings, books and sculptures) produced between 500 and 900.
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