钻石宫
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2023年意大利建筑奖。荣誉提名
关于钻石宫的项目涉及一系列有机干预措施，旨在恢复和提升这座16世纪的建筑群，以及调整内外空间以满足展览需求。
该项目的动力源于这样一种信念：建筑与绘画、雕塑或其他艺术形式不同，是一种生活中的艺术，不能仅仅因其美感而被欣赏，而是一种必须被体验和，如果必要的话，重新解释的艺术。这在建筑历史上一直如此，除了近来往往看到的纯粹保护逻辑常常占上风，而不是对我们从过去传承下来的建筑进行重写和丰富。
即使是钻石宫，由毕雅吉奥·罗塞蒂于1492年设计的意大利文艺复兴杰作，也在几个世纪以来有着复杂的历史，这使得它成为一个美妙的拼贴，由重新考虑、后来的添加和未完成的部分组成。除了外部立面外，这座建筑缺乏全面的统一，这也可从其当前复杂的用途中得以体现：主楼层包括大厅和16世纪的维吉尼亚·德·梅迪奇公寓，现在是费拉拉国家画廊的所在地，而自1991年以来，底层一直被用作费拉拉艺术基金会举办临时展览的场所。因此，钻石宫并不是一个独立的纪念碑，而是一个旨在承载公共活动的建筑，巩固其在我国文化中的地位和存在；它不仅是对我们从过去传承下来的巨大遗产的见证，也是继续在未来生产和传播文化的机会。
在这种背景下，下面描述的干预措施应被理解为一系列有机的行动，旨在既保护历史建筑、其空间性、其内在品质，又使其空间适应现代展览空间的需要。
修复和预备工作
在分析和研究古老文件以区分原始部分和后来的添加之后，首要任务是验证现有建筑物外壳的保护状况。
该项目涉及移除过去安装的旧石膏板衬里，以保护原始墙壁。一旦移除，就可以明显看到保护状况相当脆弱：一些墙壁由于存在古老的空调系统而有许多宽阔的间隙；其他墙壁普遍受损，部分是由于建筑物的年龄，部分是由于旧的未修复的穿孔。因此，首先需要进行一项修复缺陷和巩固损坏的工作，然后再进行其他工作。建筑物的保护状态需要进行大量的“补丁和拆除”干预措施，灌浆和修复工作，以恢复墙体的连续性，并确保更全面的修复。
除了对墙壁进行修复和加固工作外，在用于曾经容纳复兴博物馆的部分建筑中 “现在是书店”，还进行了大量工作，旨在恢复房间的原始双层高度空间。为此，在原始木梁上进行了重要的加固工作。
最后，在由考古学、美术和风景保护监督局不断监督的工程中，发现了一座15世纪的“埃斯特桑拿浴室”，并对其进行了修复和重见天日。
展览空间的设计
一旦修复工作完成，就创建了展览路径，主要位于之前指定的展览区域，即罗塞蒂翼和蒂西翼。
所有房间都配备了新的高度技术化和耐用的表面，背后隐藏了设备。这些新表面覆盖了古老的墙壁，而不改变其质地，隐藏了为确保当代艺术博物馆所需的热湿性能而设计的最先进的系统。在罗塞蒂翼安装了新的威尼斯水磨石地板。在两翼中都插入了新的抛光黄铜门，以突出文艺复兴宫殿的空间序列。
第二个干预措施涉及到完全恢复的前复兴博物馆空间，为展览活动提供了新的支持功能：咖啡厅、书店、教育室和多功能空间。此外，内部庭院经过翻新，配备了新的陶土铺路：构思为真正的室外房间，它们已成为博物馆游览路线的组成部分，从而增强了这座宫殿的特色，交替着固体和空虚，室内空间和封闭的室外区域。
路径设计
第三个干预措施涉及内外路径的连续性，这对于展览空间来说是一个重要主题。
关于内部路径，重新打开了随着时间中断的重要联系，这个联系连接了前复兴博物馆和主要庭院。此外，改善了通过面向主要庭院的小走廊的通道，使其成为游客路线的重要组成部分。
最重要的干预措施是在花园中建立连接两翼的结构。众所周知，建筑主体呈开放式发展，具有与通道相邻的主庭院，该庭院直接俯瞰后花园 “原始的“布罗罗””，只有一维分区，作为透视背景。连接两翼的新项目，已在安德烈亚·博尔佐尼 “Andrea Bolzoni” 18世纪的版画 “1782年” 中设想，由一个轻盈的、部分玻璃的三块木结构组成，延伸到花园，突出了其主要几何特征。
与宫殿的空间结构相一致，交替着固体和空虚，新的干预措施在花园中定义了新的室外房间，扩展了其逻辑，增加了序列。
事实上，与定义主要庭院的墙壁相比，该结构的位置轴向并与其距离较远，从而确认了留出一个空间，一种缓冲区的意图，从而重新肯定了其作为两个外部空间之间的过滤器的作用，这种情况一直持续到今天。
由碳化木制成的结构能够确保长时间的耐用性和低维护成本；滑动玻璃面板在不利的季节保护走廊，允许完全开启以恢复文艺复兴庭院和后花园之间的物理连续性。事实上，新的结构不仅连接了宫殿的两翼，而且，正是由于其短暂的本质，属于花园，该花园也已经完全重新开发。
花园项目
花园项目旨在展示古老的“布罗罗”的布局，根据博尔佐尼的版画 “1782年” 和1843年的调查，该花园被分成方形和矩形。
因此，提出的干预可以被认为是对历史遗址的新项目：事实上，它既不是现有花园的保护，也不是对特定历史情况的纯粹恢复。保留了旧的树木，以“英式风格”布置，与古老的“布罗罗”的直角布局交叉。这两种对立性的自然美的共存揭示了不同历史时期的地层。
两个新元素完善了花园：胡桃树的十字架 “一种由罗马论文传承下来的农业指南，以确保交错排列的行使种植”，它在花园和宫殿之间创造了一个过滤器，以及水体，一个简单的圆形水池，反映了天空，邀请游客前往花园的远端。
PREMIO ITALIANO DI ARCHITETTURA 2023. Honorable mention
The project for the Palazzo dei Diamanti consists of an organic series of interventions aimed at restoring and enhancing the 16th-century complex and adapting both the interior and exterior spaces for exhibition purposes.
The project is driven by the belief that architecture, unlike painting, sculpture, or other art forms, is a living art that cannot only be contemplated for its beauty, but an art that to continue to exist must be experienced and, if necessary, reinterpreted. This has always been the case throughout the history of architecture, except for the tendency that, in recent times, has often seen the logic of pure conservation prevail over the possibility of rewriting and enriching the monuments that have been passed down to us from the past.
Even the Palazzo dei Diamanti, a masterpiece of the Italian Renaissance designed by Biagio Rossetti in 1492, has had a complex history over the centuries that makes it a wonderful palimpsest, made up of reconsiderations, subsequent additions, and unfinished parts. A building that, except for the external facades, lacks a comprehensive unity, as also evidenced by its current articulated use: the main floor, which includes the grand hall and the 16th-century apartment of Virginia de' Medici, houses the National Picture Gallery of Ferrara, while since 1991 the ground floor has been used as a venue for temporary exhibitions by the Ferrara Art Foundation. Palazzo dei Diamanti is therefore not a monument in itself, but an architecture destined to host public activities that consolidate its role and presence in the culture of our country; it is a testimony not only to the enormous heritage that has been passed down to us from the past, but also an opportunity to continue producing and conveying culture in the future.
Within this context, the interventions described below should be understood as an organic complex of actions aimed both at preserving the historic building, its spatiality, its intrinsic quality, and at adapting its spaces to the needs of a modern exhibition space.
Restoration and preliminary works
After analyzing and studying the ancient documents to distinguish the original parts from the later additions, the first task was to verify the state of conservation of the existing building envelope.
The project involved removing the old plasterboard linings, which were installed in the past to protect the original walls. Once removed, it was clear that the state of conservation was rather fragile: some walls had numerous and wide gaps resulting from the presence of old air conditioning systems; others had widespread damage resulting partly from the age of the building and partly from the presence of old unrepaired perforations. It was therefore necessary to initially proceed with a work of reconstruction of the flaws and consolidation of the damage before proceeding with the remaining work. The conservation status of the building required numerous "stitching and unstitching" interventions, injections of mortar, and repairs in order to restore the wall continuity and ensure a more general restoration.
Along with these restoration and consolidation works on the walls, a modern floor was removed - in the portion of the building that used to house the Risorgimento Museum - corresponding to the new bookshop, with the aim of restoring the original double-height space of the room. To this end, significant consolidation work was performed on the original wooden beam.
Finally, during the works, constantly supervised by the Archaeology, Fine Arts and Landscape Superintendence, a 15th-century "Este sauna" was found, restored and brought to light.
The design of the exhibition spaces
Once the restoration work was completed, the exhibition path was created, mainly in the areas previously designated for exhibition, namely the Rossetti Wing and the Tisi Wing.
All the rooms have been equipped with new highly technological and resistant surfaces, behind which equipment has been concealed. The new surfaces, which cover the ancient walls without altering their texture, hide the most advanced systems designed to ensure the thermo-hygrometric performance required for a contemporary art museum. In the Rossetti Wing, new Venetian terrazzo floors were installed. New burnished brass portals were inserted in both wings to accentuate the spatial sequence of the Renaissance palace.
The second intervention involved the spaces of the former Risorgimento Museum, completely restored, where new functions have been allocated to support the exhibition activity: coffee shop, bookshop, educational room and multipurpose space. In addition, the internal courtyards were renovated, equipped with new terracotta paving: conceived as real outdoor rooms, they have become an integral part of the museum itinerary, thus enhancing the peculiarity of the Palace which alternates between solids and voids, indoor spaces and enclosed outdoor areas.
The design of the pathways
The third intervention concerned the continuity of pathways – a central theme for an exhibition space – both inside and outside.
Regarding the internal pathways, a significant connection was reopened that had been interrupted over time between the former Museum of the Risorgimento and the main court. Additionally, access through the small loggia that faces the main court was improved, making it an essential part of the visitor's route.
The most significant intervention is the creation in the garden of a connection between the two wings of the Palace. As is well known, the main body of the building has an open-plan development, featuring a main courtyard adjacent to the access portico, which overlooks directly onto the rear garden (originally the "brolo"), filtered only by a two-dimensional partition that serves as a perspective backdrop.
The new project to connect the two wings, which was already envisioned in Andrea Bolzoni's 18th-century prints (1782), consists of a lightweight, trilithic wooden structure – partially glazed – which extends into the garden, highlighting its main geometries.
Consistent with the spatial structure of the Palace, characterized by an alternation of solids and voids, the new intervention defines new outdoor rooms in the garden that extend its logic, amplifying the sequence.
Its position in relation to the wall that defines the main court, axial and distanced from it, in fact, confirms the intention to leave an empty space, a sort of buffer zone, thereby reaffirming its role as a filter between two external spaces, a condition that it has maintained until the present day.
The structure, made of charred wood, is able to ensure good durability over time and low maintenance; the sliding glass panels, which protect the walkway during less favorable seasons, allow for a complete opening in order to restore the physical continuity between the Renaissance courtyard and the rear garden. The new structure, in fact, not only connects the two wings of the palace but, precisely because of its ephemeral nature, belongs to the garden, which has also been completely redeveloped.
The project of the garden
The project of the garden aims to reveal the arrangement of the ancient "brolo," which was divided into squares and rectangles as attested by Bolzoni's prints (1782) and attested by the 1843 survey.
The proposed intervention can therefore be considered as a new project on a historic site: in fact, it is neither a conservation of an existing garden, nor a pure restoration of a precise historical situation. The pre-existing trees, arranged in the "English style", have been preserved and intersect with the orthogonal layouts of the ancient “brolo”. This aesthetic coexistence of two opposing natures, regular and irregular, reveals the stratigraphy of different historical periods.
Two new elements complete the garden: the quincunx (an agricultural prescription handed down to us by Roman treatises to ensure rational cultivation with staggered rows) of holm oaks that creates a filter between the garden and the palace, and the body of water, a simple circular basin, that reflects the sky and invites the visitor to the far end of the garden.