PREFACE
Cities, the human territory, are diverse and layered, meanwhile, beyond all those exposed layers, there is always a hidden layer beneath. We are living in the exposed side, but supported by the hidden part. By discover the layers beneath the surface, the colossal city hidden from view could be revealed, and the exposed side could
be better understood.
A huge and complecated complex with numerous layers, Palazzo Ducale in Mantova is more appropriate to be described as a city instead of a palace. We already have plenty of knowledge about its exposed layers, but this project is to explore the hidden layer.
INDEX
1.Introduction
1.1 History background
1.1.1. The evolution of the complex Palazzo Ducale
1.1.2. The construction of Cortile Pensile and Cortile delle Otto Facce.
1.1.3. The evolution of Piazza Sortello.
1.2. Current situation
1.2.1. Potential advantage of the location 1.2.2. Weaknesses could be optimized 1.3. Existing exhibition route
1.4. Planning exhibition route
2. Preliminary survey
2.1. To entail the physical composition and visual identification 2.2. Documentation of the survey - Geometry
3. Case study
3.1. Punto della Dogana
3.2. Museum for Roman Artifacts 3.3. Kimbell Museum
3.4. Villa Adriana
4. Project description 4.1. Project concept
4.1.1.General idea
4.1.2. Response to the history 4.1.3. Response to the city
4.1.4. Response to Palazzo Ducale 4.2. Basic drawings
4.3. Perspectives Appendixes
1. INTRODUCTION
1.1 History background
1.1.1. The evolution of the complex Palazzo Ducale
Palazzo Ducale of Mantova situated in the north-east of Mantova, between the Piazza Sordello and the bank of Lago Inferiore Mincio River. It is a splendid monumental complex, composed by numerous buildings, including more than 950 rooms and gardens, in the meanwhile, those buildings are linked as a united complex by lineal corridors and galleries. That's why it is more appropriate to be described as a city instead of a palace. Like all the cities, it is diverse and layered, of course, there are also the hidden layers unrevealed yet.
Palazzo del Capitano and Bonacolsi family
Palazzo Sodello was known as Piazza San Pietro in the past, named after the cathedral in the north of it. The square was shaped in 14th century, after the demolition of Citta Vecchia, which was the oldest area of Mantova, and where the residence of Bonacolsi situated in the end of 13th century.
During the rule of Pinamonte Bonacolsi(rule 1271-1291), the first capitano of Mantova, Bonacolsi family owned the house of Ripalta, tower of the Zuccaro, tower of the Gabbia, some houses on the southern side of Piazza Sordello but not existed anymore, and Palazzo Bonacolsi, which is still on the west side of Palazzo Sordello.
The growth of the colossal Palazzo Ducale could be dated back to 13th century, under the rule of Guido Buonacolsi(1300-1308). The first part of the palace is the Palazzo Capitano and Domus Magna, situated on the southeast perimeter of Piazza San Pietro, was built as Bonacolsi's residence.
The evolution of Palazzo Ducale complex and Gonzaga
family
On 16 August 1328, Luigi Gonzaga entered in to Mantova, defeated Bonacolsi faction and killed Rinaldo Bonacolsi, and seized the power on Mantoca. Around 1354, Luigi Gonzaga with his sons possessed Buonacolsi’s palaces in Piazza Sordello, and since then, the expantion of Palazzo Ducale to a “city" was started.
Under the rule of Gonzaga family, Palazzo Ducale was gradual expanded, piecemeal, with respect to both the interior city and the exterior landscape, mainly to the lake. On the one hand, Domus Magna and Palazzo del Capitano, as the most the ancient part of the palace complex, were the nucleus and start point of the axis towards the interior of city, perpendicular to the long axis of Piazza Sordello. However, later between 1395 and 1406, under the rule of Francesco I Gonzaga, the Castello San Giorgio, constructed on the lakefront, started the group with the respect to the river, extended with the axis parallel to the river. Thus, the second nucleus was formed.
In the following years, primitively, Palazzo Ducale was developed in two directons, respectively with Corte Vecchia and Castello San Giorgio as the heads：
Between 1480 and 1484, under the rule of Federico I Gonzaga, Domus
Nova was built in the rear of Corte Vecchia. Along with the direction
of river, under the commission of Federico II Gonzaga, Giulio Romano designed a group of buildings. Palazina Paleologo was firstly built (demolished by the end of 19th century). During 1536 to 1539, the
Appartamento di Troia was built. As the terminus of the apartment,
during 1538 to1539, the Loggia dei Marni (remaned as Galleria dei Mesi by Duke Guglielmo) was built. During 1538 and 1539, on the opposite of Loggia dei Marni, La Rustica was built. originally used as summer theatre, La Rustica was connected to Laggia dei Marni by two elevated passages, which enclosed a rectangular courtyard, known as
Gugliemo Calciolari. Palazzo Ducale in 1350 Gugliemo Calciolari. Palazzo Ducale in 1530
Prato della Cavallenzza.
After the two groups of building in respective axes were constructed, the palace was consisted of a hodgepodge of buildings in two groups, connected by via Coperta, and it wasn’t unified until the reign of Guglielmo. Under the rule of Guglielmo, a long process was put in practice to strengthen the connection between Corte Vecchia and Castello San Giorgio. The first step of integration is leaded by Bertani, who started fill the empty space between Corte Vecchia and Castello. in preparation for the Philio II’s visit in 1549, Bertani constructed a continues portico to enclose Prato di Castello, providing a more dignified access from Duomo to Palazzo Ducale. During 1556 and 1561, Bertani modified Prato della Cavallenzza by regulating those two elevated corridors. Then, in 1572, Bertani doubled the length of
Loggia dei Marni. The most important project to unify the palace
complex is the construction of San Barbara church between 1562 and 1572, which functioned as the fulcrum of the whole complex. After Bertani died in 1576, Bernardino Brugnoli and Pompeo Pedemonte constructed Sala dei Fiumi (which was called Sala Nuova) between 1579 and 1580. Between 1579 and 1580, they constructed Giardino
Pensile, which extended the facade facing to Piazza Sordello to the
direction of Castello San Giorgio. During 1570s, another architect, Facciotto, renovated Corte Vecchia and built Cortile delle Otto. After Guglielmo’s death, his son Vincenzo I succeeded his throne. Vincenzo entrusted Viani to built Galleria della Mostra, to regularise Plato della Mostra, to create new apartment on the first floor of Domus nova, and to refurbish Appartamento del Paradiso together with Loggia di
Eleonora.
After Gonzaga
In 1748, the Treaty of Aschen confirmed Austria's domination of mantova. Two main work were executed under Austria's domination: the restoration of the apartments in Corte Vecchia and attempt to uniform the facade of the buildings.
1.1.2. The construction of Cortile Pensile and Cortile
delle Otto Facce.
As the result of reorganization of Corte Vecchia, Cortile Pensile block and Cortile delle Otto Facce was constructed under the will of Guglielmo, which was started around between the July of 1575 and the May of 1577. During the whole process, a great number of artists were involed, represented by Pompeo Pedemonte, Bernardino Brugnoli, and Bernadino Facciotto in different period.
Cortile Pensile was built in 1579-80 to the design of Pompeo
Pedemonte, besides the Sala dei Fiumi, with other three sides delimited by loggias, which are surpported by coupled Doric collumns. The elegant Kaffeehaus (coffee house), situated at the centre of the side facing to the Sala dei Fiumi where there was a fountain in the 16th century, was built during the period of Austrian domination. Taking the spiral staicase Scala a Triangolo, situated in the corner between the old stables and the Cortile Pensile, where is the beginning of the
Gallatia dei Fiumi, we can decends to the Cortile dello Otto Facce,
which is planned by Bernardino Facciotto in 1582. bib2 p35
Cortile Pensile
The construction of Cortile Pensile block filled the blank space and strenghened the connection between two main parts of Palazzo Ducale - Corte Vecchia and Castello San Giorgio. The facade of its surporting structure was part of the structure "Entrata del Palazzo di Mantova", which has been demolished. Before the demolition of “Entrata del Palazzo di mantova”, the portico supporting Cortile Pensile extented the facade Corte Vecchia to the entrance of Prato di Catello, and defined a small city square with the right flank of Duomo. There were three architects successively enrolled in the project, they are Pompeo Pedemonte, Bernardino Brugnoli, and Bernardino Facciotto.
Most of tht work took place between 1579 and 1581, at the beginning of August 1579, Pempeo Pedemonte activated the project of Giardino Pensile, and he was the protagonist leading the project until the the end of June of 1580. In this period, the Sala dei Fiumi was built.However, the project of Corte Vecchia was brought to a halt because of the disagreements between the duke and architects on the issue of expanding the loggia - Pedemonte insisted to execute his original project.bib3 P46
In July 1580, Brugnoli was called to Mantova from verona, then immidiately engaged in the construction of Sala dei Fiumi after he arrived in Mantova. In the last months of 1580, Complying with the willing of the Duke, Brugnoli leaded the construction of the colonnades of Cortile Pensile, probably only two porticos in northwest and southeast, connected to Sala dei Fiumi.
The third portico with the Kaffehaus today (which was a fountain) was probably built in 1581 by Facciotto. Facciotto arrived in Mantova in 1580, and took over the work on Cortile delle Otto Facce and Cortile Pensile, completed the work left the previous two
architects.
Therefore, the contruction of Cortile Pensile could be recognized as several phases, which is a dialectical process confined by the willing of the Duke and the design of architects. As the diagram shows, the process could be mainly divide into four phases until achieving the final state as today.BIB 9 P186
Cortile delle Otto Face and Scala a Triangolo
A
C
B
D
Cortile delle Otto Facce was projected by Facciotto as the solution of regularizing the irregular site shaped by the existing buildings. To the east, it was the crooked wall of the old court stables, and it has been integrated as part of the polygonal element. Subsequently, the irregular site was transferred into a symmetric longated octagon. This method was also used by Facciotto on the project of "Entrata del Palazzo di Mantova".
In the horizontal aspect, with the octangular courtyard as intermediate element, Prato di Castello and Corte Vecchia were integrated as a complex structure. While in the vertical aspect, the spiral staircase in the northeast corner connected Cortile Pensile and Cortile delle Otto Facce. Deserved to be mentioned, Facciotto also provided another project of a stair next to the northwest loggia. With this long staircase, Cortile Pensile was directly connected to Palazzo Sordello.
The Fountain of Cortile Pensile
Accoring to the drawing of Bernardino Facciotto about the fountain of Cortile Pensile, it is reasonable to hypothesize that Facciotto completed the project of Cortile Pensile and Cortile di Otto Face also with hydraulic devices. Bib 3. P52
According to the plan of the fountain of Cortile Pensile, the foutain was situated on the location where the Kaffeehaus located now, in the central of the northeast loggia facing to Sala dei Fiumi. However, there is no any trace of it, since it had been replaced by Kaffeehaus in 1773.
Bib 3. P52. But according to the drawing we could calculate the measure
of it: the niche was about 1.30 m wide, about 2.69 m tall, about 0.69 m
deep; at the top of the roof the height of the fountain was about 6.47 m.Bib 3. P52
According to Carpeggiani's speculation, the water of the fountain in Cortile Pensile was destined to the fountain in Cortile di Otto Face, and probably, since it was set on the first floor, it could be used to solve the problem of water supply to other places of Palazzo Ducale.
La sola quota fissata nei disegni - braccia 3 once 6 (pari a m 1,63 ca.) in corrispondenza dell'apertura verso il portico del Giardino Pensile - permette di fissare tutte le altre misure dell'opera: il nicchione era largo m 1,30 ca., alto m 2,69 ca., profondo m 0,69 ca.; alla sommità del tetto l'altezza della fontana era pati a m 6,47 ca. Circa il funzionamento di questa fontana situata al piano nobile del Palazzo Ducale, non si può escludere che il Facciotto abbia avuto qualche problema di ordine idraulico: una carta d'archivio del 27 agosto 1581 informa della comparsa a corte di un veneziano «ch' offerisce di fare un' ingegno col quale alzerà l'acqua dal pozzo et empiria il tinazzo» che, posto a un li vello superiore, doveva alimentare la fon-tana.
A) First idea, by Pompeo Pedemonte (summer 1579). Hanging garden of greenery square, with an architectural fence consisting of four shallow porches and Sala dei Fiumi on one side.
B) Second idea (summer 1580). Hanging garden with a square but enlarged plan compared to that of the first idea and surrounded by quadriportico, with reduction of Sala dei Fiumi.
C) Third idea (autumn 1580). Hanging garden of quaclrata plant, broad as that of the second idea, but equipped only with two porticoes, spacious, faced and perpendicular to the room, which you decide to keep.
D) Fourth idea (first semester 1581). Hanging garden of square plant, as large as that of the second and third idea, with spacious porticoes on three sides, and a fountain in the central of northeast potico.
B. Facciotto, Plan of the fountain of Cortile Pensile.
B. Facciotto, Front of the fountain of
1628
A B C
2000 2018
A. Map of city gates in 13th century_second circle
1.Porta Giugliemo 2.Porta dei Mulini 3.Porta Nuova 4.Porta Leona 5.Porta dei Montielli 6.Porta dei Arlotti 7.Porto dell'Ancona 8.Porto della Catena 9.Porta dell'Aquadrucio 10.Porta di San Marco 11.Porta dei Folli
B. Map of elements since 1401_third circle
1.Porta di San Giorgio 2.Porta Mulina 3.Porta Pradella 4.Porta della Pusterla 5.Porta di Cerese 6.Quartiere di San Pietro 7.Quartiere di San' Andrea 8.Quartiere di San Giacomo 9.Quartiere di San Nicolò a.Duomo
b.Magna Domus and Palazzo del Capitano
c.Castello di San Giorgio d.Sant'Andrea e.Palazzo della Ragione f.San Giacomo g.San Nicolò
C."La Citta del Principe"
A-B.Private axis of Gonzaga a.Palazzo Ducale b.Duomo c.San'Andrea d.San Sebastiano e.Casa del Mantegna f.Palazzo di San Sebastiano g.Isola del Tejeto
1.1.3. The evolution of Piazza Sortello.
As fortification of the city, Castello San Giorgio stands as the landmark of the city's entrance. From Castello San Giorgio, directed by Via. S. Giorgio, we can turn into the main city square - Piazza Sortello.
From 14th century, when Piazza Sortello got its initial shape, the main square has basically kept its original appearance until today, except the museum was constructed in the southeast corner in 2017, infront of the Police office. However, the northeast extended part has always been in a state of evolution. The main change is the construction and demolition of "Entrata del Palazzo di Mantova", which was designed by Facciotto.
There was no document precisely demonstrating the process of the work of "Entrata del Palazzo di Mantova", but for certain, it was completed before the wedding of Vincenzo Gonzaga and Margherita Farnese on 30 April 1581.
Compared to the historical photo, the only one element remained until today is the portico supporting the Hanging Garden, as part of the facade of Palazzo Ducale. Besides, it was designed to compose the access to Prato di Castello, even though the access has been cut off today. In the past, besides the existed portico, there were another parallel wall pierced by same arched openings in the side of southeast flank of Duomo, aligned with the bell tower, and a polygonal shaped wall which connected the wall in the side of Church and the entrance to Prato di Castello. Further more, there were two sides of the polygonal wall, with one arched opening in each side, which are same as the entrances to Prato di Castello.
The project "Entrata del Palazzo di Mantova" symmetrised the asymmetric space between Palazzo Ducale and the cathedral. Subsequently, a harmorny relationship between the palace and the cathedral was resulted. According to Paolo Carpeggiani's opinion, the homogeneity of palace of cathedral is not only designed for the space and function, but also with less apparent meaning: this sort of great
tentacle, with which the palace captures the cathedral, displays the iron control that the noble power exerts on the Mantuan Church, of
which it is Guglielmo Gonzaga, in fact, to choose the bishops.bib 3 P 47
Ma credo gli si possa attribuire anche un significato di ordine simbolico: questa sorta di grande tentacolo, con il quale il palazzo cattura il duomo, visualizza il ferreo controllo che il potere signorile esercita sulla Chiesa mantovana, della quale è Guglielmo Gonzaga, di fatto, a scegliere i vescovi.
Some radical differences could be detected by comparing the executed work and the original design.
According to the drawing, there is another building connected Sala dei Fiumi and the bell tower, as the fourth element of the project. With the fourth element in the drawing, the "Entrata del Palazzo di Mantova" and Piazza Sordello was delimitted by a diaphragm, simultaneously, the "Entrata del Palazzo di Mantova" was enclosed into a more confined space, a more emphasized transferring space before entering the most important square of thr city, and a more independent space rather than the extention of Piazza Sordello.
However, the fourth element was absent in the executed work, because it was not documented in both the historical photo and bertazzolo's drawings (1596 and 1628). Subsequently, it is very possible that this building is only achieved on paper. The absent fourth element is the result of the priority of the continuity of the square rather than the division.
Unfortunately, the "Entrata del Palazzo di Mantova" was demolished in 1901. Bib3, P47. Only the portico as the supporting of Hanging Garden
was remained, but the characteristic of the access to the Prato di Castello was lost after all.
"Entrata del Palazzo di Mantova"
"Entrata del Palazzo di Mantova"
Pespective of Palazzo Sordello
1.2. Current situation
1.2.1. Location analysis
Situated between Milan and Venice, sorounded by several smaller but valuable cities, such as Verona, Parma, and Modena, the modern Mantova, comparable to its ability to hold the balance of the political and military struggle between Milan and Venice in the past, it could play an important role in the north of Italy , perhasps as the intermediate stopover point, from where you can easily approach to the sorounding cities. Futher more, the advantageous geographical condition has brought Palazzo Ducale with high accessibility from surounding cities, especially from Milan and venice.
Introduced by Via San Giorgio, Piazza Sordello maintained as the entrance to the city, as the north ending of the culture axis in Mantova. After the esedra between Duomo and Palazzo Ducale being demolished, the extended small square infront of Cortile Pensile block, which was unidirectionally open to Piazza Sordello, changed its characteristic from an assembly space into a fluid crossing space. Driceway, bus route, bike route, pedetrian path and street parking have been overlapped in the small square, but unfortunately, in a mess.
The street parking is exactly the architect behind the mess. The parking space has occupied most of the square, only ?? meters was left for cars passing by. At the same time, it has blocked the facades of Palazzo Ducale and the right flank of Duomo, and those buildings next to Duomo, therefore, the potential of commercial activities and any other public activities have been restricted. Moreover, the width of pedestrian pathes have been reduced to less than 1 meter( 考察 辩 证 ), along with the facades of two sides. Besides, the pedestrian paths are often interrupted at corners. Subsequently, buses, cars, bikes, and pedestrians shared the only path left by the parking.
EXISTING MAIN EXHIBITION ROUTE
Part 1:
1. Sala del Morone 2. Corridor of Pisanello 3. Sala dei Pisanello 4. Sala dei Papi 5. Alcova
6. Galleria Nuova
7. Galleria degli Specchi 8. Sala degli Arcieri 9. Appartamento Ducale
sala dei Guiditta sala del Labirino sala del Crogiuolo
10. Corridoio di Santa Barbara 11. Sala di Monto
12. Sala dei Capitani 13. Sala di Troia
14. Sala dello Zodiaco 15. Stanze degli Arazzi sala dell' Aquila sala del Leone sala delle Imperatrici
Part 2:
12. Courtyard of Castello
13. Piano Nobile(up by spiral ramp) sala degli Stemmi
sala dei soli
camera degli Sposi sala degli affreschi sala del sigle
1.3. Existing exhibition rouote
From the early years of the 20th century, especially between the two world wars, Palazzo Ducale was used as the city museum.
The main existing exhibition route is divided into 2 parts. One starts from Palazzo Capitano, passing by Domus Nova, heading for Corte Nuova, then back to Palazzo Capitano. Another route is an independent route for Castello San Giorgio. Besides the two independent exhibition routes with two main independent entrances, there are also other additional routes, but the hanging garden block and the Cortile delle Otto Face are ignored.
PLANNING MAIN EXHIBITION ROUTE
1. Sala del Morone 2. Corridor of Pisanello 3. Sala dei Pisanello 4. Sala dei Papi 5. Alcova
6. Galleria Nuova
7. Galleria degli Specchi 8. Sala degli Arcieri 9. Appartamento Ducale
sala dei Guiditta sala del Labirino sala del Crogiuolo
10. Corridoio di Santa Barbara 11. Scalone di Enea
12. Courtyard of Castello
13. Piano Nobile(up by spiral ramp) sala degli Stemmi
sala dei soli
camera degli Sposi sala degli affreschi sala del sigle
14 Corte Nuova (taking Scalone Enea) Sala di Monto
Sala dei Capitani Sala di Troia
15. Palazzo della Rustica 16. Galleria del Passerino 17. Domus Nuova
18. Sala dello Zodiaco 19. Sala dei Fiumi 20. Stanze degli Arazzi
sala dell' Aquila sala del Leone sala delle Imperatrici 21. Isabella d'Este's apartment
1.4. Planning exhibition rouote
Compared with the existing exhibition route, the planning exhibition route combined the two individual parts into one, and with the additional part of Prato della Cavallenzza, the route is completed into a big circle, ending at the beginning. But the hanging garden and Cortile delle Otto Face are still not considered yet.
2. PRELIMINARY SURVEY
2.1. To entail the physical composition and visual
identification
After searching for the historical information and conducting
the general analysis on the whole palace, together with its
relationship with the city, a detailed survey is required to get
a more precise understanding of the site.
Not only a dead stucture, the palace is also a symble
represents the history, as a result, both the objective
structual identification and the visual impression of the
traces of time need to be respected.
In the respect to the physical identification, from the
exploded axonometric diagram, several characteristics
could be concluded as following:
1. the block of hanging garden is a great transition space
between two open spaces - Piazza Sordello and the
Cortile delle Otto Facce, but it has been blocked from
the original construction, at the same time, the block of
the old stable situated in between the Cortile delle Otto
Facce and Piazza Castello, blocked too.
2. A long portico from the Palazzo del Capitano to the
entrance of the Piazza Castello is a strong orietative
element.
3. The triangle staircase in the corner is like a fulcrum of
the complex, which peovides the only vertical connection
among different levels.
4. The foundation of the hanging garden is composed by
5 paratactic arches in 2 levels.
5. On the hanging garden level, the Kaffeehaus and Sala
dei Fiumi staring at each other, with a fountain in between,
and porticos in two sides, the space in Sala dei Fiumi has
been part of the hanging garden, so the space is complete
only when we open Sala dei Fiumi to the hanging garden.
2.2. Documentation of the survey - Geometry
From the front to Piazza Sordello to the back, the first layer of the Geometry is the double walls shaping the portico. Those two walls are constructed in different period as mentioned earlier, and they are constructed for different purposes, one was built to enclose the inside space, while another one, which was built because of the expanded loggia, is more beneficial to the outer square.
The second layer is the exactly hidden layer beneath the surface, a hitherto unnoticed space, which has never been used so far. The supporting structure of the greenery hanging garden is composed by four parallel barrel vaults in two levels. The supporting structure of Sala Dei Fiumi is composed by a vaulted tunnel and a longilineal refectory room.
The layer in the back is the Cortile Delle Otto Face and the old stable, which are valuable but not reachable from the city.
22.93
B B A A Facade A-A Facade B-B +26.30 +22.16 +23.35 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.72 +26.55 +30.73 +34.34 +21.46 Quota:39.57 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.66 +21.72 +26.55 +30.73 +34.34 +21.46 Quota: Quota: Quota: Quota: Quota: +30.82 22.40 37.16 30.82 25.82 20.63 +36.96 +25.82 +20.63 +30.82 +26.30 +22.60 +24.90 +24.60 +26.30 +22.16 +23.35 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.72 +26.55 +30.73 +34.34 +21.46 Quota:39.57 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.66 +21.72 +26.55 +30.73 +34.34 +21.46 Quota: Quota: Quota: Quota: Quota: +30.82 22.40 37.16 30.82 25.82 20.63 +36.96 +25.82 +20.63 +30.82 +26.30 +22.60 +24.90 +24.60 Section C-C Section D-D C C D D
Quota: Quota: Quota: Quota: Quota: Quota:19.00 23.00 26.00 33.00 37.60 30.00 +21.12 +24.62 +28.50 +31.82 +20.92 +21.54 +24.74 +28.49 +30.78 +34.35 +23.76 +26.37 +34.42 +32.38 Quota: Quota: Quota: Quota: Quota: Quota:19.00 23.00 26.00 30.00 33.00 37.60 +20.45 +21.64 +24.64 +28.38 +31.81 +30.78 +34.46 +24.69 +21.55 +28.73 Quota: Quota: Quota: Quota: Quota: Quota:19.00 23.00 26.00 33.00 37.60 30.00 +21.12 +24.62 +28.50 +31.82 +20.92 +21.54 +24.74 +28.49 +30.78 +34.35 +23.76 +26.37 +34.42 +32.38 Quota: Quota: Quota: Quota: Quota: Quota:19.00 23.00 26.00 30.00 33.00 37.60 +20.45 +21.64 +24.64 +28.38 +31.81 +30.78 +34.46 +24.69 +21.55 +28.73 Section E-E Section F-F E F E F +26.30 +22.16 +23.35 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.72 +26.55 +30.73 +34.34 +21.46 Quota:39.57 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.66 +21.72 +26.55 +30.73 +34.34 +21.46 Quota: Quota: Quota: Quota: Quota: +30.82 22.40 37.16 30.82 25.82 20.63 +36.96 +25.82 +20.63 +30.82 +26.30 +22.60 +24.90 +24.60 +26.30 +22.16 +23.35 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.72 +26.55 +30.73 +34.34 +21.46 Quota:39.57 Quota: Quota: Quota: Quota: Quota: 20.63 37.15 30.75 25.82 22.93 +30.82 +22.93 +20.81 +20.63 +25.82 +30.45 +36.96 +26.39 +21.74 +21.66 +21.72 +26.55 +30.73 +34.34 +21.46 Quota: Quota: Quota: Quota: Quota: +30.82 22.40 37.16 30.82 25.82 20.63 +36.96 +25.82 +20.63 +30.82 +26.30 +22.60 +24.90 +24.60 G G H H Section G-G Section H-H
2.3. Documentation of the survey - material
-- with the refectory and the tunnel as examples.
panorama of the refectory under Sala dei Fiumi panorama of the refectory under Sala dei Fiumi
Soft Plaster_New
The newest layer of white plaster, implied during the latest restoration.
The historical layer of white plaster, hammered during restoration, to provide stronger cohesive force.
The plaster applied during the past restoration.
Hammered Plaster
3. Case study
3.1. Punta della Dogana - respect and detachment
Current building of Punto della Dogana is completed in 1682, situated nearby Basilica di Santa Maria della Salute, it was used for customs activity until the eightieth century. However, then it had been hidden to the public more than 20 years until 2009. It was reopened to the public as a contemporary art center in 2009, designed by Tadao Ando. Similar to the Hanging Garden block in Palazzo Ducale, the structure is simple and rational, composed by long rectangular halls, which are divided by parallel walls.
The restoration was done with great respect to the building itself and was executed in the following levels:
At first, all the additional parts added during the previous restorations were removed in order to regain its original form.
Then, consolidation and restoration of the existing masonry structure were carried into execution. All the restoration were implied with traditional methods, even the damaged bricks were replaced with old bricks, for the sake of restoring it to what it was and what it should be.
Afterwards, the new inserted elements are inserted paralle but detached to those old masonry. The historical elements are consolidated and left visible, eventually becoming indispensable to shape the interior space, at the meantime, those new elements are inserted only when it is necessary for the exhibition.
Furthermore, the distribution of functions is comparable to the composition between the old structures and new structures. The old brick walls shaped the whole interior space, as the outer box, while the new concrete walls composed the inner box, which shaped the exhibition areas. Then, the rests serve the exhibition.
In this project, new elements are in new material and new technology, old masonries are left as it was, the noticeable contrast has brought us a stronger impression on the differences between the new and the old. Meanwhile, the new concrete walls between the artifacts and the old walls are great background for both.
3.2. Museum for Roman Artifacts - typology
In contrast to the Punta della Dogana, the museum for Roman Artifacts by Rafael Moneo adopted a different solution between the new and the old. Unlike the contrast in Punta della Dogana, Museum for Roman Artifacts is designed along the impression of type Roman. At the meantime, the display items is not only those physical objects, but also the memories, by the adoption of roman space as the prototype and the longitudinal brick as the material, the whole museum itself has been turned into part of the exhibition.
“as a concept which describes a group of objects characterized by the same formal structure. It is neither a spatial diagram nor the average of a serial list. It is fundamentally based on the possibility of grouping objects by certain inherent structural similarities. It might even be said that type means the act of thinking in groups ”
In terms of the idea of typology, it is the bridge connecting the past and the future. The most essential space in the main exhibition area is a central nave, represented the nave from ancient Roman basilica. Simultaneously, the parallel walls in the two sides of the nave not only derived from the idea of the aisle of basilica, but also represented the plan of the crypt.
Furthermore, typology is just the frame helping thinking in groups, the old and new are in the same type, but they are still belong to different
time. The walls are constructed with traditional bricks, but in modern technology. At the same time, although the distribution of the parallel walls is the development of the historical plan in crypt, the twist of the direction is determined by the demands of the new functions. And the conflict between the two diverse axes formatted an exhibition space in between, hence, standing in the exhibition space, the new order formate the stage, while the old order is exhibition artifacts.
3.3. Kimbell Museum - exhibition organization
Kimbell museum is a modern museum designed by Luis Kahn, unlike the Punta della Dogana and the museum for Roman artifacts, the focus of Kimbell museum is not on the relationship between the old and new, instead, it is a great case on how to display items with appropriate light and spaces.
With the installation of the aluminum reflectors, the parallel barrel vaults are great to diffuse the light. The detached vaults are the light diffusers providing soft and uniform light to the artifacts under the vault and those items on and exhibition wall.
4.1. Project concept
4.1.1.General idea
As mentioned before, by discover the layers beneath the surface, an unknown colossal city hidden from view could be revealed, and the known side could be better understood.
Therefore, this project is to explore the hidden layer and to optimize the exposed layers with it.
By revealing the hidden spaces never used before, not only the potential optimizing those inside space is shown, but also the possibility to recompose the outside space is brought to light. By this means, the project is not only to adaptively reuse of the inside space, but also to redefine the composition of outer space.
• With respect to the redefinition of the outer space, the composition of parallel lineal layers from front to back is changed into the circle layers from outer to inner. The outer layer is the public space, which connected Piazza Sordello, Cortile delle Otto Face, and Prato di Castello. So the Cortile delle Otto Face which was in the back layer is brought to the front, and the hidden vaulted tunnel is revealed as part of the outer circle.
• With respect to the reuse of inside space, three new functions are inserted, including a permanent exhibition space in the mezzanine floor under the hanging garden, a temperary exhibition in the ground floor free to the public, as the interior extension of the Cortile delle Otto Facce and Piazza Sortello, and a office block in the old stable as the supplementary function of the whole palace.
Besides the physical changes of the location, the events inserted into the hidden space could also used to interpretate the exposed layer. The permanent exhibition is about the bricks, columns, and those supporting elements of a palace which are ignored and paced in the courtyards. Therefore, the exhibition space, which is exact a supporting structure, is an "article", and the items on display is the "phase" usually used in articles.
4.1.2. Response to the history
With the respect to the history, the idea is to reuse the block only with necessary interventions.
History gives the emotion, volume and light tell the potential, unlike new building, when we renovate a historic building, those existing space already have their own characteristics, which we should follow and maintain when we are going to reuse it. So new functions are inserted in after the full consideration on the characteristics of existing interior spaces, while the historic facade are maintained as it was to the maximum extent.
Futhermore, the intervention of the interior space is also designed with the respect to its original design, aiming to restore it to its best situation. One example is the intention of changing the portico, aimed to achieve the continuity from the portico of Palazzo del Capitano to the entrance of Piazza Castello, derives from the original design of Bernadino Facciotto. Another is the idea of recovering the extension part of Piazza Sortello from a disordered street to its original identification - an assembly space.
4.1.3. Response to the city
As mentioned above, the design of the extended square between the cathedral and the block of Hanging garden is to regain its identification as a square. On the one hand, it can be used as the transition space from the hignway to the start point of the historic axis. On the other hand, instead of the existing disorder, a square, as a part of Piazza Sordello, can enhance the relationship of the valuable points around, such as the Rigoletto' house, National Archeaological Museum, and the entrance to Piazza Castello.
Taking the advantage of the liberation of the facade, after removing the street parkings, the supporting structure under the hanging garden and Cortile delle Otto Face are able to open to public.
4.1.4. Response to Palazzo Ducale
As a part of the palace, in addition to the consideration
to the city, the project is also a complement of the whole
exhibition route, with the triangle stair as the link.
This additional path is suggested as the last part of the
whole route, from Sala dello Zodiaco to Sala dei Fiumi, then
going downstairs by the triangle stair to the mezzanine
refectory under Sala dei Fiumi, then exiting through the
Santa Croce Courtyard. As a result, visitors can enjoy more,
and don't need to repeat their path.
APPENDIX 3
the Gonzaga as “Capitani del Popolo”
Luigi Gonzaga
Guido Gonzaga 1360-1369 renovated the Palazzo del Capitano
Ludovico Gonzaga 1369-1382 improve the fortification of Mantova
Francesco I Gonzaga 1382-1407 • Gothic Facade of Duomo
• Casa Giocosa ( between the cathedral and the Magna Domus) • Castello di San Giorgio (1395 - 1406)
the Gonzaga as Marquises
Gianfrancesco Gonzaga
1395-1444 1407-1444 • Sala del Pisanello (1433)
• the church of Santa Croce (rebuilt in 1443-44, some fo the features of the church can be seen in the Corte Vecchia today) Lodovico Gonzaga
1412 1444-1478 systematic program of urban renewal for Mantua itself:
rebuild San Sebastiano (1460) - by Alberti rebuild Sant'Andrea (1470) - by Alberti
Federico I Gonzaga 1478-1484 Domus Nova - by Luca Fancelli (It was begun between 1480 and
1484, then was in a permanent halt, remained unfinished until 17th century)
Francesco II Gonzaga
b: 1466 1484-1519 Focused his attention on embellishing existing structures with decorative programs that adverrtised his military valor and dynastic authority.
the Gonzaga as Dukes
Federico II
B：1500 1519-1540 • Palazzina della Paleologa for the Duchess Margherita Paleologo( not existed today, demolished around 1876, because of the rediscovery of the Middle ages)
• Loggia dei Marmi -by Giulio Romano (a space later doubled in length by Duke Guglielmo and renamed the "Galleria dei Mesi”) • Prato della Cavallenzza (enclosed by La Rustica and Loggia
dei Marni with two elevated passages ) francesco
b:1533 1540-1550 The first fixed theater for the Gonzaga court (1549)—by Bertani (Destroyed by fire along with the Gonzaga armory in 1588)
Guglielmo Gonzaga
b:1538 1550-1587 It was Guglielmo, more than any other Gonzaga ruler, who structurally unified and expanded the Palazzo Ducale, transform- ing it into a true "princely city”.
• Prato di Castello(1549) — by Bertani
• To regularize the two long, elevated corridors that connect the Galleria to the Rustica (1556-1561) — by Bertani
• Santa Barbara (1562-1572) — by Bertani
• Sala dei Fiumi (1579- 1580) —by Bernardino Brugnoli and Pompeo Pedemonte
• Giardino Pensile (1579-1580) —by Bernardino Brugnoli and Pompeo Pedemonte
• Renovation of Corte Vecchia (1578-1582) — by Facciotto Vincenzo I
b：1562 1587-1612 • Galleria della Mostra (1592 - 1612) — by Viani
• new apartments on the piano nobile of the Domus Nova (1601-1605) — by Viani
• Appartamento del Paradiso— by Viani • Loggia di Eleonora — by Viani
• Galleria del Passerino (1594-1595) — by Viani Francesco
b:1586 1612
Ferdinando b:1587 6th duke
1613-1626 Ferdinando's plan was to impose order on the family collection,
giving organic unity by grouping them as if the Palazzo Ducale were a museum. not to construct new spaces, but rather to embellish existing ones and transform them into a sequence of galleries conceived to display the Gonzaga collection.
• Scala Santa (1615) Vincenzo II
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generale delle collazioni inventariate. Dipinti fino al XIX secolo. Mantova,
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728.820945281 PALDIM)
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728.820945281 PALDDM)
5. Guide Artistiche Electa. Mantova. Milan. 1992. (MN LAB 709.45281 MAN)
6. Giuseppe Amadei, Ercolano Marani. I Gonzaga a Mantova. Milan. 1975.
(MN LAB 709.45281 GONAM A)
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728.820945281 DUCAOM)
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1982. P142. 1596 sketch
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