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  • VENICE, ITALY - 4 JUNE 2016: Visitors walk through the Evidence Room, between the "design workshop : sa" exhibit room (seen here) and Souto Moura Arquitectos exhibit room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0429.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster cast of David Olère's drawing of the undressing room of Crematorium 3 of Auschwitz, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0163.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0335.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale plaster model of a gas hatch used in Auschwitz, is seen here in the Evidence Room exhibition at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0094.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0039.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0329.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0315.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of the section of Crematorium 3 of Auschwitz, drawn by David Olère in 1946, is  seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0203.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0185.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gastight door and a gas hatch used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0175.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster cast of David Olère's visual testimony of the removal of corpses from the gas chamber, showing the gastight door with the metal protection over the peephole, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0149.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of a Zyklon B can is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0063.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including the full-scale model of a gas hatch (center) used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0056.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including the full-scale model of a gas hatch (left) used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0048.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0370.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0309.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors are here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0224.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of a gas mask is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0221.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the palster model of a gastight doow in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0216.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster casts of plans, memoirs, drawings and of a gas mask related to Auschwitz are seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0213.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the palster model of a gastight doow in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0177.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0172.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor is here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0168.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of the plan of Crematorium 3 of Auschwitz, drawn by David Olère in 1945, is  seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0167.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor steps out of The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0143.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gastight door (front and back) and a gas column used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0139.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plater cast of Vrba amd Wetzler's plan of a crematorium is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0092.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale plaster model of a hemispherical grid protecting the peephole on the inside of a gastight door, found by soldiers of the Red Army in Auschwitz in 1945, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0085.jpg
  • VENICE, ITALY - 4 JUNE 2016: Full-scale plaster models of Zyklon pellets in a gas column used in Auschwitz are seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0072.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0301.jpg
  • VENICE, ITALY - 4 JUNE 2016:  The entrance to the central pavillon of the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
The theme of the Biennale titles "Reporting from the Front", selected by 2016 director Alejandro Aravena, is an investigation into the role of architects in the battle to improve the living conditions for people all over the world. The theme aims to focus on architecture which works within the constraints presented by a lack of resources, and those designs which subvert the status quo to produce architecture for the common good - no matter how small the success.
    CIPG_20160604_NYT-Evidence_M3_0453.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors watch the video of Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0383.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0344.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the writings and illustrations on the lightbox of the Case 3 study by Forensic Architecture on the "Left-to-die boat", the deadly drift of a migrants’ boat in the Central Mediterranean, presented here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0307.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the writings and illustrations on the lightbox of the Case 1 study by Forensic Architecture on the 2012 US drone strike in Miranshah, Pakistan, presented here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0288.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster model of the city of Parma is here in Renato Rizzi's "Orphan Ground" exhition at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0252.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0248.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the lightbox on the Case 3 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0390.jpg
  • VENICE, ITALY - 4 JUNE 2016: An animation of the Case 3 study by Forensic Architecture on the "Left-to-die boat", the deadly drift of a migrants’ boat in the Central Mediterranean, is projected here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0389.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors look at the lightbox on the Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0352.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors look at the lightbox on the Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations. study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they ge
    CIPG_20160604_NYT-Evidence_M3_0350.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0346.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0343.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster casts hang on a wall in Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0276.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0272.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0241.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0239.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0233.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6139.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6129.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor is seen here in room 41, dedicated to Raphael and Michelangelo, here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6070.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A map of Room 41 of the Uffizi is seen here as technicians install the paintings in the new location at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5900.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians move the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, from Palazzo Pitti to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5557.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi Director Eike Schmidt poses for a portrait in the Hall of Saturn at Palazzo Pitti before overseeing the transportation of dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5357.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors photograph the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4992.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors are seen here by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4979.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in room 35 of the Uffizi before being relocated to room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4961.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor is seen here by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4955.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors photograph the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4907.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6144.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6136.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6135.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6098.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi Director Eike Schmidt is interviewed here in room 41, dedicated to Raphael and Michelangelo, at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6085.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The plaque of room 41 dedicated to Raphael and Michelangelo is seen here at the entrance of room 41 at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6065.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors look at the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5922.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi curator Francesca De Luca photographs a frame containging Raphael's portrait of Agnolo Tondi, here at its new location  in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5793.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, to its nice at his new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5771.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, to its nice at his new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5689.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5683.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians move the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, from Palazzo Pitti to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5532.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: "Bacchus" (1595) by Caravaggio is seen here in its new room inaugurated in February 2018 at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5128.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: "The Baptism of Christ" (1472-1475 ca) by Leonardo da Vinci, is seen here at the Uffizi, before being relocated next month to a new room, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5086.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in room 35 of the Uffizi before being relocated to room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4972.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors are seen here by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4933.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors are seen here by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4898.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in room 35 of the Uffizi before being relocated to room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4888.jpg
  • FLORENCE, ITALY - 4 JUNE 2018: A janitor wipes the floow of room 41, dedicated to Raphael and Michelangelo, before the inauguration at the Uffizi, in Florence, Italy, on June 4th 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6152.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: An empty room 35, which hosted the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here after all the masterpieces were relocated, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6146.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6110.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6109.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6095.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor is seen here in room 41, dedicated to Raphael and Michelangelo, here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6074.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6026.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6010.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor looks at the rears of the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, here at their new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5947.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor looks at the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5913.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5873.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5863.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A detail of the portrait of Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5841.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A detail of a plaque next to the mythological scene by Master of Serumido, an artist in<br />
Raphael’s workshop, in the rear of Raphael's portrait of Maddalena Strozzi,  here at its new location  in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5814.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A techinician unscrews the frame containging Raphael's portrait of Agnolo Tondi, here at its new location  in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5806.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, to its nice at his new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5796.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, to its nice at his new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5786.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, to its nice at his new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5746.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5612.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians move the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, from Palazzo Pitti to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5549.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The stained wall that previously hosted the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael round 1504-1505, is seen here in the Hall of Saturn of Palazzo Pitti before the paintings will be relocated in room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5509.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: (R-L) Uffizi Director Eike Schmidt is seen here with museum technicians  in the Hall of Saturn at Palazzo Pitti before moving the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5490.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians are seen here in the Hall of Saturn at Palazzo Pitti as they start transporting the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
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