Porticvs : MMXVIII by Rendy Hendrawan

PORTICVS

"The work of Alberti is also that of intervening in the historical city by rejecting the protagonist but proposing exemplary volumes in the strategic spaces of the city indulge, sometimes even to revaluate previous vocations, in the awareness that with the stones, with the bricks, with the plasters, with the forms proposed lines of address useful to the people, functional to those who have to live in the city". - G. Grassi, Leon Battista Alberti e Lâ&#x20AC;&#x2122;architettura romana, Franco Angeli, Milano 2007, p. 42

MMXVIII

PORTICVS : MMXVIII Giardino dei Semplici Palazzo Ducale Mantova

Scuola di Architettura Urbanistica e Ingegneria delle Costruzioni MSc. in Architectural Design and History

PORTICVS : MMXVIII The new interpretation of portico, project proposal at Giardino dei Semplici in the Ducal Palace of Mantua Supervisor: Professor Luigi Spinelli Graduation Thesis by Muauz Weldu Gebru - 870602 Rendy Hendrawan - 872140 Academic Year 2017 - 2018 Luca Fancelli, Domus Nova,1480â&#x20AC;&#x201C;1484 Mantua

ABSTRACT……………………………………………………………………………………....08 INDEX

PART I: HISTORY I.1 Mantua: The Urban Model………………………………………………………………………………......13 1I.1. Introduction and General History about Mantua……………………………………………………………….......13 I.1.2 Gonzaga and Mantua………………………………………………………………………………………….........15 I.1.3 The Evolution of the City ……………………………………………………………………………………........17 I.1.4 The City Elements: Streets, Monuments-Urban Nodes, Open Spaces, and Porticoes………………………………19 I.2 The Ducal Palace: The City Within the City…………………………………………………………………......27 I.2.1 Introduction and General History about The Ducal Palace …………………………………………………….......27 I.2.2 The Evolution of the Palace…………………………………………………………………………………….......29 I.2.3 The Elements: Corridor, Volumes (Buildings), and Open Spaces…………………………………………………...31

PART II: PORTICO II.1 Introduction of Portico………………………………………………………………………………….......39 The General history of Portico……………………………………………………………………………………..39

II.2 Porticoes as Elements of Architectonical Model………………………………………………………......41 II.2.1 Pantheon in Rome……………………………………………………………………………………………........43 II.2.2 Cortile del Belvedere in Rome……………………………………………………………………………………..45 II.2.3 Piazza S. Pietro in Rome…………………………………………………………………………………………..47 II.2.4 Project de Bibliotheque Royale…………………………………………………………....……………………….49 II.2.5 Piazza SS. Annunziata in Florence…………………………………………………………………………………51 II.2.6 Altes Museum in Berlin……………………………………………………………………………………………53 II.2.7 Quartiere Gallaratese in Milan: residential unit…………………………………………………………………….55 II.2.8 Student halls of residence in Chieti………………………………………………………………………………...57 II.2.9 Kimbell Art Museum in Fort Worth, Texas………………………………………………………………………..59 II.2.10 Palace of the Assembly in Chandigarh, India……………………………………………………………………..61 II.2.11 James Simon Galerie in Berlin……………………………………………………………………………………63 II.2.12 ENPDAP Headquarters in Bologna……………………………………………………………………………...65

PART III: SITE III.1 Porticoes as Architectonical Elements in Mantua………………………………………………….69 III.1.1 Church of Sant’Andrea…………………………………………………………………………………………....71 III.1.2 Palazzo del Capitano……………………………………………………………………………………………...73 III.1.3 Bridges in Mantua……………………………………………………………………………………...…………75 III.1.4 Camera di Commercio……………………………………………………………………………………………77 III.1.5 Pescherie………………………………………………………………………………………………………….79 III.1.6 Cooperativa d’abitazione………………………………………………………………………………………….81 III.1.7 Casa del mercante Boniforte……………………………………………………………………………………...83 III.1.8 The General Porticoes in the City………………………………………………………………………………...85

INDEX

III.2 Porticoes as elements of The Ducal Palace…………………………………………………………………….87 The Research and Analysis of Porticoes inside The Ducal Palace ……………………………………………………….87 III.2.1 Portico at Piazza Castello………………………………………………………………………………………....89 III.2.2 Portico at Cortile della Cavallerizza……………………………………………………………………………….91 III.2.1 Portico at Giardino Pensile………………………………………………………………………………….……93 III.2.4 Portico at Cortile del Castello San Giorgio………………………………………………………………………..95 III.2.5 Portico at Giardino dei Semplici………………………………………………………………………………….97 III.3 Giardino dei Semplici (Project Area)…….……………………………………………………………………..99 III.3.1 Introduction and General History about the Project Area………………………………………………………...99 III.3.2 The Italian Gardens: Villa Madama, Villa Giulia, Villa Medici, and Villa D’Este………………………………....101 III.3.3 Four Elements in the Giardino dei Semplici……………………………………………………………………..103 III.4. The Needs………………………….…………………………………………………………………………..107 A conclusion from the site to the project ………………………………………………………………………107

PART IV: CONCEPT IV.1 Program…………………………………………………………………………………………………………..111 IV.1.1 Route……………………………………………………………………………………………………………111 IV.1.2 Connections……………………………………………………………………………………………………..113 IV.1.3 Semi-Public Space………………………………………………....…………………………………………….115 IV.2 Design Concept………………………………………………………………………………………………….117 IV.2.1 Study Elements……………………………………………………………………………………………….....117 IV.2.2 Intervention Result: Porticoes as new volume…………………………………………………………………...119 IV.3 Volume, Material & Structure…………………………………………………………………………………..121 IV.3.1 Study Proportion………………………………………………………………………………………………...121 IV.3.2 Study Material…………………………………………………………………………………………………...123 IV.3.3 Design Approach: Stereotomic and Tectonic……………………………………………………………………125

PART V: PROJECT V.1 Survey Drawings………………………………………………………………………………………………….129 V.2 The Proposal……………………………………………………………………………………………………...133 Project Sequence……….…………………………………………………………………………………………..137 V.3 Intervention Drawings…………………………………………………………………………………………...139 V.2.1 General Floor Plans and Four Sectioned Elevations……………………………………………………………...140 V.2.2 Portico no.1 (Floor Plan, Photo Montages, Sections, Details)..…………………………………………………...142 V.2.3 Portico no.2 (Floor Plan, Photo Montages, Sections, Details) …………………………………………………...148 V.2.4 Intervention in the urban scale…………………………………………………………………………………....155

PART VI: CONCLUSION……………………………………………………………………………….159 PART VII: BIBLIOGRAPHY, FIGURES, & FOOT NOTES…………………..…………………….163

ABSTRACT

The thesis project proposed here, stands as goal of reconstruction and reinterpretation of Porticoes as an architectonic element. It analyses the use of Porticoes since the first of their existence until our time and reconstructs an archetypal contemporary element that supports the existing museum system and intends to create a continuity with existing architectural language of the Ducal Palace in Mantua. The building is further a small piece of architecture inside the historical Palace complex completing the missing program and the architecture. The project is a continuation of the Final Workshop Antico e Nuovo: old and new, in which it relies on the contribution of the characterizing subjects of Architectural Design, Architectural Preservation and Survey Advanced Techniques, coordinated among themselves and applied to a common theme. The project resides in the Ducal Palace, Mantua, one of the most incredible palaces inside a model Renaissance urban city. It was the court centre and residence of the Gonzaga family of Mantua for more than four hundred years. Since its foundation as a palace till the time decorated as a museum, the Ducal Palace is a city inside a city for it comprises richly decorated apartments, galleries, rooms, chapels, gardens, a church and a castle.

For the understanding of the complex we have made a metric survey used to carry out models and drawings in a digital environment with 2D and 3D development and metric survey and decay status of the building with the aspects of architectural heritage preservation in the integrated dimension of restoration and enhancement. The thesis project is organized into six chapter following the logical making of the result. Introducing with a brief analysis of the history of the city and the Ducal Palace place and their elements, we have made a deeper study and analysis of portico since the ancient roman times till the contemporary architecture of our time. The project arrives with two rectangular plan Porticoes facing in front of each other inside the Giardino dei Semplici, a Renaissance garden of Italian prototype, with compositional choices made according the program they contain and the structures they aside in to. By using this as an interpretative contemporary building, we therefore concluded the project answering the theme of dialogue of new architecture inside the old historical context.

Il progetto di tesi qui proposto si pone come obiettivo di ricostruzione e reinterpretazione dei portici come elemento architettonico. Il progetto analizza l'uso dei portici dalla prima costruzione fino ai giorni nostri e ricostruisce un elemento archetipico contemporaneo che supporta il sistema museale esistente e intende creare una continuità con il linguaggio architettonico di Palazzo Ducale di Mantova. Inoltre, L'edificio è un piccolo pezzo di architettura che completa il programma mancante all'interno del complesso storico del Palazzo. Il progetto è la continuazione del Final Workshop: antico e nuovo, in cui Progettazione Architettonica, Conservazione dell'Architettura e Tecniche Avanzate del Sondaggio, hanno il compito di coordinarsi tra loro ed essere applicati ad un tema comune. Il progetto risiede a Palazzo Ducale a Mantova, uno dei palazzi più incredibili all'interno di una città urbana rinascimentale. Il palazzo fu il centro di corte e residenza della famiglia Gonzaga di Mantova per più di quattrocento anni. Sin dalla sua fondazione come palazzo, fino al momento in cui è utilizzato come museo, Palazzo Ducale è una città all'interno di una città poiché comprende appartamenti riccamente decorati, gallerie, stanze, cappelle, giardini, una chiesa e un castello.

Per la comprensione del complesso abbiamo realizzato un'indagine metrica utilizzata per realizzare modelli e disegni in un ambiente digitale con sviluppo 2D e 3D, e un rilevamento metrico del decadimento dell'edificio, con gli aspetti della conservazione del patrimonio architettonico nella dimensione integrata del restauro e della valorizzazione. Il progetto di tesi è organizzato in sei capitoli che seguono un ordine logico della stesura del progetto. Presentando una breve analisi della storia della città e di Palazzo Ducale e dei loro elementi, abbiamo approfondito lo studio e l'analisi del portico dall'epoca romana fino all'architettura contemporanea del nostro tempo. Il progetto è composto da due portici a pianta rettangolare che si fronteggiano l'uno di fronte all'altro all'interno del Giardino dei Semplici, un giardino rinascimentale del prototipo italiano. Le scelte compositive sono state fatte in base al programma che le strutture contengono. Utilizzando questo come un edificio interpretativo contemporaneo, abbiamo quindi concluso il progetto rispondendo al tema del dialogo tra nuova architettura all'interno del vecchio contesto storico.

PART I : HISTORY

I.1 Mantua : The urban model

I.1.1 Introduction and General History about Mantua

“L’operazione di Alberti è anche quella di intervenire nella città storica rifiutando il protagonismo ma proponendo negli spazi strategici cittadini volumi esemplari per assecondare, a volte anche per rivalutare precedenti vocazioni, nella consapevolezza che con le pietre, con i mattoni, con gli intonaci, con le forme si proponevano linee di indirizzo utili alla gente, funzionali a coloro che la città la devono abitare.” "The work of Alberti is also that of intervening in the historical city by rejecting the protagonist but proposing exemplary volumes in the strategic spaces of the city indulge, sometimes even to revaluate previous vocations, in the awareness that with the stones, with the bricks, with the plasters, with the forms proposed lines of address useful to the people, functional to those who have to live in the city". - G. Grassi, Leon Battista Alberti e L’architettura romana, Franco Angeli, Milano 2007, p. 42

I.1

Fig I.1: Plan of Monuments, Mantua

Mantua under the court of the Gonzagas mainly since the ruling of the first Marquis Gianfrancesco Gonzaga (13661407), and later continued by Ludovico Gonzaga in 1444, was reform the urban structure making it one of the urban models of the Italian Renaissance city planning. Between 1459-1460, with the desire of Pope Pius II to support the armed intervention, Mantua started to be a main attraction to key artisans, architects and theorists of the Renaissance period such as Leon Battista Alberti, Andrea Mantegna, Luca Fancelli and Giulio Romano. All these great Renaissance architects work in Mantua placing their fundamental architectures in which the whole city tends to synthesize.

I.1.2 Gonzaga and Mantua

Ludovico Gonzaga following the example of cities such as Ferrara, Urbino and Florence, decides to follow the norms of Renaissance architectural humanism that determine transformation of the medieval city based on new values of monumentality of buildings. Particularly Florence was the model, in which under the control of the Medici family, who ruled throughout much of the Renaissance period, played a large part in the patronage of the arts and the political development of the city.

To these is added the main figure of Italian Renaissance Leon Battista Alberti who was working in Florence since the sixties and started making connections with Ludovico Gonzaga. Later Federico II Gonzaga (1500 –1540) gave the full trust to Giulio Romano (1499 –1546) who holds control of all later urban interventions.

Ludovico make use of the collaboration of active Tuscan architects at the court of the Medici, as for example Filippo Brunelleschi came in Mantua as an engineer in 1431 and 1436, Manetto Ciaccheri between 1448 and 1452, Luca Fancelli in 1950, Andrea Mantegna in 1459 and Luciano Laurana in 1466.

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Fig.I.1.2: Photo of the painting “Caccia dei Bonacolsi”, originally painted by Domenico Morone in 1494.

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I.1.3

I.1.3 The Evolution of the City

After the defeat of the Countess Matilde di Canossa at the battle of Rivalta in the 12th century Mantua became a municipality. In the following centuries Mantua continued to extend its territorial boundaries, but the city was always troubled by struggles among the great noble families, until the 13th century when the city transformed itself under the government of Pinamonte Bonacolsi.

After the fall of the Gonzaga in 1708 Mantua became a domain of the Habsburg dynasty, who administered it until the advent of Napoleon, who, in 1797, absorbed it in the so-called Repubblica Cisalpina. With the end of the Napoleonic Empire, Mantua returned to the Austrians and after the struggles of the Risorgimento (Independence movement), in 1866 it became part of the Kingdom of Italy.

Later the Bonacolsi were themselves ousted by the Gonzaga, a distinguished dynasty that ruled Mantua until the early 18th century. It was under the Gonzagas that the town became an important cultural and artistic centre during the Renaissance period.

Fig.I.1.3: Master Plan of the evolution of Mantua,

I.1.4 The City Elements: Street, Urban Nodes (Monuments), Open Spaces, and Porticoes

Streets: The most important act of Renaissance urban design has been traced in the construction of the Gonzaga axis. After the construction of this path, the Gonzaga axis was symbolic and relevant in the later construction of major architectural projects of the city, Tempio di San Sebastiano, Palazzo San Sebastiano and casa del Mantegna to mention few.

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now

I.1.4.1

Fig.I.1.4.1: Master Plan of the Streets of Mantua, , Fig.I.1.4.2: Street View from Piazza Martiri di Belfiore

Urban Nodes: “Le regole estetiche che governano la bellezza dell’architettura, (vale a dire il numero, la delimitazione, la collocazione e la concinnitas) valgono anche per la città: ma il principale ornamento di una città è costituito dalle strade, dal foro, da ogni edificio e dalla sua posizione, costruzione, forma, collocazione: tutti questi elementi devono essere disposti e distribuiti in guisa da rispondere nel modo più adeguato alla funzione di ciascuna opera alle esigenze di praticità e di decoro. Giacche, ove manchi l’ordine, anche la comodità, la piacevolezza, e la dignità scompaiono”. “The aesthetic rules that govern the beauty of architecture, (i.e. the number, the delimitation, the collocation and the concinnitas) also apply to the city: but the main ornament of a city is constituted by roads, from the forum, from each building and its location, construction, form, location: all these elements must be moved and distributed in guises to be answered in the most appropriate way to the function of each work to the needs of practicality and decorum. Jackets, where the order is lacking, even comfort, laudity, and dignity disappear ". - Rosario Pavia, L' idea di città. Teorie urbanistiche della città tradizionale, Franco Angeli, Milano 1994, p. 20 One of the most relevant intervention of the Renaissance Mantua was the reconstruction of the Basilica of Sant'Andrea, placed as a seal of urban operations by Ludovico Gonzaga. The Basilica of Sant'Andrea (1472) stands on a pre-existing Benedictine church built for the purpose of containing the relic of the blood of Christ, of which only the bell tower remains and a wing of the cloister. Although due to Alberti's death the construction works were directed by Luca Fancelli, he faithfully applied according to the original Albertian design of the Latin cross plan, the central aisle covered by a large vaulted barrel vault and a front portico in the entrance.

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Here it is very important to note the main façade of the church anticipated by an entrance vestibule, inscribed in a square, and the elements that compose it derived from the principles of the classical temple and the triumphal arch. The urban role of the church is left to its position and that determines the sudden appearance and glimpse of the façade for which the centre rises from the current Piazza Guglielmo Marconi. Alberti's work takes on a key value as its continuity with the other key buildings of the city and coincides with rest of the urban fabric. Another model building as an urban node is the Palazzo Te (1524-1534), a building built outside the urban perimeter of Mantua. The buildings work as a typical suburban villa for the pleasure of the Prince. Palazzo Te was designed by Giulio Romano (1499-1546), who arrived in Mantua after the long experience in Rome in the workshop of Raphael. He works on the aesthetics and decorating of buildings which does not make a distortion in the paths of the built fabric. The works of Giulio Romano tend to a city that is beautified in appearance and which adds fundamental pieces to its structure settling down as the final point of the Gonzaga axis, Palazzo Te closes the composition of the great architectures of the time placed on this path.

Fig.I.1.4.3: Master Plan of the Urban Nodes of Mantua, , Fig.I.1.4.4: A view of St. Andrea Church, photo: Tavernor, R. (1998), On Alberti and the art of building.

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Openspaces : The recovery of the medieval cultures and places helped to transform the municipal squares into places for celebrating the glories of Gonzaga and retraining them for the public. The reactivation of these new open spaces gave a way to renovations of the public buildings facing in front of them. For example, the Palazzo della Ragione and that of the PodestĂ , which both built in the thirteenth century in the communal era, were deprived of care for a long time and with the new series of portico intervention on the ground floor opened a way for a new commercial use. now

I.1.4.5

Fig.I.1.4.5: Master Plan of the Openspaces of Mantua, , Fig.I.1.4.6: Aerial View of Piazza Castello

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Porticoes: The portico in Mantua was one of the main elements used in the evolution of the city. From 1460 onwards with the help of Ludovico Gonzagaâ&#x20AC;&#x2122;s new strategy of addressing the crucial crux of the city system with key Renaissance principles, it was possible to update the harmonious architectural language of the city. Most of these Renaissance interventions were concentrated in the center of city and in particular in the area between Piazza Erbe and Piazza Mantegna. with the progressive reconstruction of extensive portico sections along the curtain walls of these building it was very evident to create an organized urban relationship between piazzas, open spaces, streets and buildings.

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now

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Fig.I.1.4.7: Master Plan of the Porticoes of Mantua, Fig.I.1.4.8: Aerial View of Piazza Sordello, Fig.I.1.4.9: A View of Piazza Piazza delle Erbe, Fig.I.1.4.10: A View of Pescherie building by Giulio Romano

I.2 The Ducal Palace: The City within the City

I.2.1 Introduction and General History about The Ducal Palace

“There are few buildings in the world that can boast as many layers of history as the Ducale of Mantua. In fact, it might be more appropriate to describe it as a city rather than a palace, given the monumental complex is made of numerous buildings linked together by bread corridors and magnificent galleries and embellished with internal courtyards and extensive gardens”. - Stefano L’Occaso, The Ducal Palace: Mantua, Electa, Milano 2009, p. 10

I.2

Fig.I.2: Master Plan of the Ducal Palace

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I.2.2 The Evolution of the Palace

On August 16, 1328, the Gonzaga faction rebelled against the Bonacolsi and defeated in a battle fought in todayâ&#x20AC;&#x2122;s Piazza Sordello. And then after under the rule of Luigi Gonzaga and his sons a golden age was started for the evolution of city and the Ducal Palace. Following many addition and renovations to the first structures of the palace, the Magna Domus, the evolution of the Ducal Palace starts since 13th century and continues till the 19th century. The Gonzaga family (supported by Cangrande della Scala, lord of Verona) took power in 1328, with Luigi Gonzaga killing Rinaldo â&#x20AC;&#x153;Passerinoâ&#x20AC;? Bonacolsi. The Gonzaga family would rule Mantua continuously for the next 400 years, adding many rich and extravagantly decorated galleries, churches, gardens, halls and apartments and a castle to their residence and court centre. Under the Gonzaga dominion, Mantua became an important court city of northern Italy, with the Gonzagas patronizing many famous artists and architects to build and promote Mantua as a powerful and influential artistic centre.

Fig.I.3: Master Plan of the Evolution of the Ducal Palace

I.2.3 The Elements: Corridor, Volumes (Buildings), and Open Spaces.

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Corridor / Gallery After the Castlello di San Giorgio, the next major development was the construction of the Domus Nova, built in 1485 by Giovan Battista Bertani and renovated later in the 16th century. Later in the 18th century, this apartment was connected to the Guastalla apartment by the Galleria Nuova, or New Corridor.

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Fig.I.2.3.1: Master Plan of Corridors and Galleries of the Ducal Palace, Fig.I.2.3.2: Corte Vecchia, cortile d'onore, Fig.I.2.3.3: The secret garden of Isabella d'Este

I.2.3.5

Volumes / Buildings Since Magna Domus, the oldest structure of the complex, so many important budings has been built in the Ducal Palace complex. Just a few years after the fall of the Bonacolsi, the adjoining Palazzo del Capitano and the Magna Domus were unified by a common façade and a portico of pointed arches along Piazza Sordello. The Gonzagas then took up residence inside the Magna Domus and also inhabited spaces of the newly expanded and refurbished Palazzo del Capitano. The next major development of the the Ducal Palace complex was the construction of the Castello di San Giorgio, along the waterfront of the lake. Construction was begun in 1396 and finished in 1406 under Francesco I Gonzaga and designed by Bartolino da Novara. And it was later renovated by architect Luca Fancelli to include several apartments, and the family took up residence inside. The Corte Nuova, or New Court was built in the 16th century near the Castello di San Giorgio, and contains the Troy Apartment, named for the frescoes made by Giulio Romano’s studio in the mid-16th century. The entrance stair, accessed today from the courtyard of the Castle, leads to the Sala di Manto, created for the Appartamento Grande di Castello as renovated under Guglielmo Gonzaga.

I.2.3.6

church of Santa Barbara was also commissioned from Bertani. This church was built between the Castle and the Corte Vecchia, for exclusive use of the court for religious ceremonies and services. The 17th century saw many additions and halls built between the existing older buildings, including several small courtyards and gardens, such as the Giardino dei Semplici near the Domus Nova. During the 18th century, several major renovations took place within the Corte Vecchia by Veronese architect Paolo Pozzo. For example, the current entrance of the palace museum complex is through a portal in the Palazzo del Capitano that leads to a monumental staircase, the Scalone delle Duchesse. This staircase was built in 1779. It leads visitors up to the first floor, through a corridor and back into the Palazzo del Capitano, where the beginning of the museum path begins. The Gonzaga family dynasty died out in 1707, at which point the buildings went into a period of decline. In the 20th century, continuing restoration efforts took place and designated the complex’s current use as a museum. After this brief examination of the history of the ‘city within a city’, it is clear to see how complex and intricate the buildings are. Medieval structures stand in close proximity with Renaissance and Baroque age buildings, and over the centuries they have been grouped together, joined, demolished, renovated, and their uses changed. It is a fascinating look into the evolution of a dynasty and its ever-changing needs and cultural aspirations.

As part of the Corte Nuova, in 1562-72, the Palatine

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Fig.I.2.3.4: Master Plan of the Building Volumes of Ducal Palace, Fig.I.2.3.5: Porticoed Gallery by Antonio Maria Viani, Fig.I.2.3.6: Porticoed Courtyard of Cortile dei Cani

I.2.3.7

Open spaces The Palazzo Ducale of Mantua includes numerous open spaces, courtyards and gardens. These Open and public spaces in Palazzo Ducale are a continuation of the cities typology of construction, where the courtyard plays an important role of the living. The Gonzagas has also preferred this typology of housing where there exist five private gardens next to their apartments and two more piazzas open for the public. There are quite a few differences in the typology of open spaces inside the Palace. Some of which were built intend to reproduce the Renaissance scheme of gardens and Open spaces. The Giardino dei Semplici, for example, The public open space, like piazza Castello, for example are also an extension of the cityâ&#x20AC;&#x2122;s open space, in this case piazza Sordello. Piazza Castello has been working as a centre of public activities and exhibitions because of its historic and strategic location in the middle of buildings by Renaissance Masters. Its very important to mention the defining element of these open spaces. The Portico, as an interest of this research, is one of the main elements defining the gardens and open spaces. The other elements will be building volumes and high walls.

Fig.I.2.3.7: Master Plan of the Openspaces of Ducal Palace, Fig.II.1: Model of the west side of the Athenian Agora, View from the southeast

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PART II : PORTICO

II.1 Introduction of Portico

II.1

II.2

Based in the dictionary, Portico or Porticvs (in Latin) is a porch leading to the entrance of a building, or extended as a colonnade, with a roof structure over a walkway, supported by columns or enclosed by walls. The idea was widely used in the Ancient Greece to the Roman, and it has influenced many cultures, including most of Western.

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A pronaos is the inner area of the porticoes of a Greek or Roman temple, situated between the colonnade or walls and the entrance to the shrine. Roman temples commonly had an open pronaos, usually with only columns and no walls. The word itself means in latin “Before a temple”. This void space of the portico that later have their own evolution to become filter space between inside and outside, with the same usage and function.

their buildings and a filter element between the outside and inside. The use of portico seems to be blurred during Modernism. Master architects like Le Corbusier and Louis Kahn eliminated the bold figure of elements like pilasters and used horizontal elements to define spaces. Concrete was of course the main material of their architecture which porticoes of the previous architecture eras never used. This study of the evolution of porticoes and its usage is further strengthened by analysing the element as an architectonic model in the representative projects of these different eras.

The interest of this thesis is taking the portico as an architectonic model. For this the evolution of its usage and architectural language has been developed and experimented. In the beginning the Greeks and Romans has been using porticoes as a religious and political core element. During the Renaissance and Baroque as an entrance into sacred spaces and as a corridor to create an exaggerated space. And later during the Neo-classical revolutionary architects like Étienne-Louis Boullée and Claude Nicolas Ledoux started using porticoes as entrance giving emphasis to

Fig.II.1: Model of the west side of the Athenian Agora, View from the southeast,Fig.II.2: Priene, the Agora, von Gerkan,Griechische Stiidteanlagen, Fig.II.3: The Athenian Agora, second century A.D., Fig.II.4: Reconstruction of the Acropolis by G. P. Stephens, 1941 , Fig.II.5: Athens, Greece

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II.2 Porticoes as Elements of Architectonical Model

As described in the previous historical introduction, the typology of portico has been changing through different architectural eras. Here on this research we have selected strong and representative projects and architects of these eras and studied how this element has been thought, experimented and realized. The study uses parameters such as function, history, scale, and architectural language

Fig.II.2: Illustration showing the Porticoes studied

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II.2.1. Pantheon Apollodorus of Damascus 118-125 â&#x20AC;&#x153;The Pantheon, built by the son-in-law of Augustus, was the first great monument of non-useful architectureâ&#x20AC;?. - Marie-Henri Beyle also known as Stendhal, Roman Walks

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II.2.3

II.2.4

The Roman Pantheon was the most admirable building of antiquity. Its architecture can clearly be interpreted as the union of two basic forms, the vaulted cylinder and the portico. The rectangular portico of the entrance, at the north side, is of the classic style and obscures the view of the circular space beyond, meaning the magnitude of the temple cannot be appreciated from the exterior. In the portico, there are the first eight large ionic columns, 12 metres in height, joined by the other eight columns distributed laterally in rows of four, which make up the characteristics of an octastyle pronaos. It is 34.20 by 15.62 metres in dimension and is reached by five steps at a height of 1.32 metres above the level of the piazza. This portico reinterpreted the idea of portico in the Greek tradition in which it was considered as the symbol of power and governance. Fig.II.2.1: Exterior Aerial view, Pantheon, Rome, A.D. 120-125, Fig.II.2.2: Plan, Pantheon (photo: Biblioteca Apostolica Vaticana), Fig.II.2.3: Illustration showing structure, hierarchy, symmetry and balance, Fig.II.2.4: Illustration showing relationships between plan and section

II.2.2.1

II.2.2.Cortile del Belvedere Donato Bramante 1505 Among the great figures of the early Italian Renaissance the name of Donato Bramante stands in a category of its own. His architecture inaugurates a new departure. This specific project of the Cortile del Belvedere is the most influential in a way that it relates landscape and architecture and it was a notable case study to the architecture of the Italian gardens of the Sixteenth and Seventeenth Centuries. The architecture of the early Renaissance had small and essentially negative spaces (gardens, open spaces and piazzaâ&#x20AC;&#x2122;s) defined by surrounding walls; large areas, conceived and organized into coherent architectural designs. The Cortile del Belvedere, in contrast, like the great architectural complexes of antiquity, was the result of a concept of space as a positive force moulded and organized by the architectural forms, specifically building volumes and porticoes.

II.2.2.4

II.2.2.5

II.2.2.3 Fig.II.2.2.1: Representation of the tournament in the Court of Belvedere Fig.II.2.2.2: Axonometric reconstruction of Cortile delBelvedere Fig.II.2.2.3: A view of the portico, Hendrik van Cleve,1550 Fig.II.2.2.4: Axonometric reconstruction of the Portico Fig.II.2.2.5: Plan of the Cortille del belvedere

II.2.3.3

II.2.3. St. Peters piazza Gian Lorenzo Bernini 1656 to 1667

II.2.3.1

II.2.3.2

â&#x20AC;&#x153;Since St. Peter's is, so to speak, the Mother Church to all other churches, the portico accurately expresses her act of maternally receiving in her open arms Catholics to be confirmed in the faith, heretics to be reunited with the Church, and unbelievers to be enlightened by the true faithâ&#x20AC;?. - Timothy Kitao The Vatican City in Rome with its St. Peter's basilica with the combined image of its dome, monumental facade, colonnaded piazza and central obelisk, is one of the most celebrated architectural ensembles in the world. Before the middle of the seventeenth century there was no formal piazza but only an irregular, unpaved area in front of the church. The piazza and colonnade were the creation of Gian Lorenzo Bernini who between 1659 and 1667 transformed an unimpressive open lot - referred to by contemporaries as simply the platea or open space into the majestic ceremonial entrance to the greatest shrine in Christendom. The portico defined by colossal Tuscan colonnades, four columns deep, frame the

II.2.3.4

trapezoidal entrance to the basilica and the massive elliptical area which precedes it. The ovato tondo's long axis, parallel to the basilica's faĂ§ade, creates a pause in the sequence of forward movements that is characteristic of a Baroque monumental approach. The colonnades define the piazza. The elliptical center of the piazza, which contrasts with the trapezoidal entrance, encloses the visitor with "the maternal arms of Mother Church" in Bernini's expression. On the south side, the colonnades define and formalize the space, with the Barberini Gardens still rising to a skyline of umbrella pines. On the north side, the colonnade masks an assortment of Vatican structures; the upper stories of the Vatican Palace rise above.

Fig.II.2.3.1: Carlo Fontana,"open" solution for a monumental approach to St. Peter's, 1694 Detailed plan Fig.II.2.3.2: Giovanni Battista Piranesi, St. Peter's basilica and piazza, 1748. Fig.II.2.3.3: View of St. Peter's colonnade , Fig.II.2.3.4: Illustration of the porticoes 01, Fig.II.2.3.5: Illustration of the porticoes 02

II.2.4.1

II.2.4.Project de Bibliotheque Royale Etienne-Louis Boullee 1785 At the end of the eighteenth-century France a new architectural system was inaugurated by of Claude-Nicolas Ledoux with an entirely new principle of relationships of the parts to each other and to the whole. The rise of a new system never occurs abruptly; rather, new elements become increasingly frequent among the old until finally the new become dominant. II.2.4.2

The rise of the new system is also apparent in the work of Etienne-Louis Boullee. In various passages of his preserved treatise on architecture he asserts the important, new, nineteenth century principle of the isolation of the parts. His architecture is significant as it makes the first conscious employment of the new form. Boullee with his other French neoclassical architects did not remain long at this primitive stage of combining traditional elements. They set about inventing the new forms for which their period needed.

Etienne-louis Boulleeâ&#x20AC;&#x2122;s second project for the Royal Library in 1785 called for a gigantic barrel vault above a rectangle hall that would serve as the reading room. A striking skylight in the center of the vaulted ceiling would provide reading light for the books, which, arrayed in shelves on the four stepped tiers of the hall, were accessible. With a clean geometric style, inspired by classical forms and characterized by the suppression of all superfluous ornamentation, the Bibliotheque Royale signifies the enlargement of geometric forms on a gigantic scale and the repetition in elements.

II.2.4.3

Fig.II.2.4.1: Boullee, Interior Drawings 1785 Fig.II.2.4.2: Boullee,longitudinal section, second variation, pencil, ink, and wash, 1785. Fig.II.2.4.3: Boullee, Interior Drawings 1785

I.2.5.1

II.2.5. Piazza SS. Annunziata in Florence Filippo Brunelleschi 1419

I.2.5.2

I.2.5.3

I.2.5.4,5

Brunelleschi was praised as a sculptor, but he had no background as an architect. He had however extensively studied for two years the ancient buildings of Rome with his friend Donatello. The long portico he designed for the hospital was a striking novelty for Florence, as it is first building inspired after classical antiquity. Brunelleschi is regarded as the founder of Italian Renaissance architecture: his studies of the buildings of Ancient Rome influenced his works, which however were not imitative of them: the proportions between the various architectural elements were entirely new: each bay of the portico has the same length, width and height. The way he linked columns to arches became a pattern followed by many other Renaissance architects and the highlighting of the building design by using a grey stone (pietra serena) on a white surface became a typical feature of Florentine architecture.

Ospedale degli Innocenti it was preceded by a cloister and by a portico. The central bay of the portico was designed by Antonio da Sangallo il Vecchio in 1518, while the rest of it was completed towards the end of the XVIth century. By an artful "stretching" of Brunelleschi's design the height of the portico was made consistent with that of Ospedale degli Innocenti. Antonio da Sangallo turned the square named after the church into one of the finest examples of Italian piazza by building for a monastery a portico identical to that designed by Brunelleschi a century earlier. The pattern set by Sangallo influenced Michelangelo when a few years later he designed Piazza del Campidoglio in Rome. He too designed two identical buildings with a long portico at the sides of another building

SS. Annunziata is an old church rebuilt between 1450 and 1481 and modified several times in the following centuries. To visually relate it to the already existing

Fig.II.2.5.1: Aerial view of Piazza SS. Annunziata , Fig.II.2.5.2: Map showing the historical develepomnet of the Piazza SS. Annunziata Fig.II.2.5.3: Master plan, a Quarter of florence , Fig.II.2.5.4,5: front views of Piazza SS. Annunziata

II.2.6. Altes Museum II.2.6.1 II.2.6.3

Karl Friedrich Schinkel 1823 Seen from the Lustgarten, the Altes Museum, designed by Karl Friedrich Schinkel, was Berlin’s first museum and the nucleus of the Museum Island. This composite design apparently resulted from Schinkel's desire to influence the viewer, and to produce the proper state of mind for experiencing art. Sequentially experienced, the great staircase of the podium together with the colonnade towering above, were to create an emotional effect. This architectural setting helped Schinkel emphasized the requirements of the artistic building in which the viewer coming in to contact with the building opening the art in to the public.

II.2.6.2

The front portico with its 18 rows of ionic colonnades and high simplicity operated as a forceful metaphorical plane of intersection between the eyes of the observer and the soul of the building, and a meeting between the outside and the inside.

Fig.II.2.6.1: Karl Friedrich Schinkel, Perspective View of the Portico (from Schinkel's Sammlung architektonischer Entwiurfe, 1841-43). Fig.II.2.6.2: Schinkel,Berlin, Altes Museum first design plan, 1824 (Staatliche Museen zu Berlin) Fig.II.2.6.3: Schinkel,Berlin, Altes Museum,first design elevation,1825 (Staatliche Museen zu Berlin)

In Greek antiquity the stoa had brought a royal privilege quite literally into the marketplace. Schinkel adopted this in a specific version, the “painted stoa,” and used it not only to “open” the building of the museum but also to face the royal palace across the square. As a result, the open portico running the full length of the museum declares at once its public destination and its royal patronage; the former instrumental, the latter suggestive of the new ideological status of art. The deeply recessed double stairs are likewise known as an escalier royal, reserved for ceremonial entry and ascent into the sphere of authority. In the museum the stairs remain open and visible from afar rather than being enclosed within the sphere of privilege, as are the stairs in the royal palace opposite the museum. But most telling of all, they do not lead into the museum so much as they open toward the magnificent vista of central Berlin.

II.2.7.1

II.2.7.Quartiere Gallaratese: residential unit Carlo Aymonino and Aldo Rossi 1968-73 After the great utopias of the Modern Movement, the question of dwelling was in practice restated in an uninspired way, as the result of achievements and developments in specific research fields, setting aside the central question of houses for people to marginal experimental areas of architectural and urban design.

II.2.7.2

In this housing project at Gallaratese, Aymonino and Rossi worked together for ten years and between them produced seminal research about architecture and the history of the city, and, indeed, were the proponents of a revived interest in design as the logical extension of historic precedents Aldo Rossiâ&#x20AC;&#x2122;s early substantial projects approached the issue of urban space in a silent manner, as if to break cover would impede the success of his strategy to recover urban values in architecture. The Gallaratese housing designed on the outskirts of Milan revealed the

Fig.II.2.7.1: Aldo Rossi, Housing Unit, Gallaratese, Milan, 1970, elevation (Moschini, Aldo Rossi, tav. 3) Fig.II.2.7.2: Project drawings, ETH ZuÂ¨rich/ Professor Adam Caruso

characteristics of his evocative use of typology. The principal public feature is the portico which runs the length of the block, providing a space to the development on two related levels, the junction of which is negotiated by a monumental set of steps and four over scaled cylindrical columns. The daunting abstraction of this space is upgraded by the delicate use of scale, with the endless portico made of frequently spaced fin walls, their dimensions related to the distance between the hands of an outstretched figure. The regularity of its form reflected that its following its origins in traditional types of Lombardy housing. working in a context where historical form had been mistrusted and modernity had become an internalised search for novelty, Aldo Rossi used this portico as a principal element of recovery and continuity of past.

II.2.8.Student halls of residence in Chieti Giorgio Grassi and Antonio Monestiroli 1976-77

II.2.8.01,02,03,04,05

Architecture, like music and the other arts, has traditionally depended on the arrangement or composition of several preformed rhetorical figures. How ever since the introduction of modern architecture buildings were generally adapting to the real tasks of constructing on a large scale, and being disseminated throughout the profession, its formal rules came to be applied in an increasingly perfunctory way or as postmodernists refer to it monotonous and boring. Post-war architects like Aldo Rossi and Giorgio Grassi constituted an unambiguous and uncompromising rejection of the doctrine of functionalism and opened the door to association and memory and to historical quotation. The typical solutions that they propose was not based on an acceptance of modernist dogma. Instead, they added certain modernist inventions to a more general typological inventory of architecture. The project presented here by Giorgio Grassi is one strong example of this concept and strong historical and typological relation to the city, as Aldo Rossi explained this in his book Lâ&#x20AC;&#x2122;architettura della cittĂ , in 1966. Giorgio Grassi built these blocks of student housing units axed along two lines: one directly technical/functional, the other more specifically architectural. This provides an initial explanation of the arrangement of the planned building complex into separate blocks, with the communal services block responding specifically to the functional objective. The stylistically uniform street frontage and the full-

Fig.II.2.8.01,02,03,04,05: Giorgio Grassi, Casa dello studente, Chieti,Project Illustrations and Model 1976

height open gallery offer an adequate and architecturally recognizable interpretation of the role attributed to this new, important building in the city, which also makes good use of the road itself, as the archetypal public place. The shape of this part of the project represents a definite idea of city architecture. Its sense also lies in its singularity and uniqueness, while its inclusion in a part of the city qualifies it as a whole. The frontal portico, an important piece of architecture, works as an element of mediation which offers an evident relationship with Corso Marruccino, the main street in the historic centre of Chieti. Furthermore, there is also clearly a close link between this constructed part of the university city with the embellishment plans of the classical European cities. This very idea of an archetypal urban building represented here by the colonnade-lined street â&#x20AC;&#x2019; also represents the construction tradition of the most important and recurring rural structures in history. It overlaps with the image of the large colonnade-lined open courtyards, of manors, farmhouses, etc., of all the complex and exceedingly rich experiences of rural architecture over the years. The project intents to uphold and exhibit this relationship and ideal link between the building tradition of the city and that of the countryside as openly as possible.

II.2.9.1

II.2.9.Kimbell Art Museum Louis Kahn 1972 Located in Fort Worth, Texas, the Kimbell Art Museum by Louis Kahn has become a mecca for all who are interested in modern architecture. The element of natural light is the main focus of the design and creates elegant spaces that are perfectly suited for the art that it houses. The distinct form of the Kimbell Museum's cycloid barrel vaults is rimmed with narrow plexiglass skylights, providing room for natural light to penetrate into the spaces. To diffuse this light, pierced-aluminum reflectors shaped like wings hang below, illuminating the smooth surfaces of the concrete vault while providing elegant and enchanting light conditions for the works of art.

II.2.9.4

II.2.9.4.5

recession from the rest of the facade. The building is punctuated by three courtyards, allowing for more light, air flow and relationships between interior and exterior spaces. Completely modern in its revivalist detail and lack of ornament, the hints of Roman architecture include the grand arches and vaults. These were made possible using concrete, travertine and white oak, all the key materials of the project. Most of the galleries are located on the upper floor, to allow for most natural lighting. Air ducts and mechanical services are in the spaces where edges of vaults come close to meeting.

Three 100-foot bays that are each fronted by a barrelvaulted portico comprise the main facade to the west, where the central entrance is marked by its glazing and

Fig.II.2.9.1: North portico, Kimbell Art Museum, Fort Worth, Texas, 1966-1972. (Photo courtesy of Xavier de JaurĂŠguiberry) Fig.II.2.9.2: Sketch of acropolis, Athens, Greece, 1951. (Source: Private collection.) Fig.II.2.9.3: Floor plan, The Kimbell Art Museum Fort Worth, Texas, USA Louis I. Kahn 1967-72 (Thirty Museum Plans: Kirk Train) Fig.II.2.9.4: Model and site plan, AD Classics: Kimbell Art Museum / Louis Kahn Fig.II.2.9.5: Illustrations, Axonometric and section drawings (Ingrid Yin Liu on behance)

II.2.10.1

II.2.10.Palace of the Assembly in Chandigarh Le Corbusier 1963 Le Corbusier conceived the master plan of Chandigarh, in 1951 an analogous to a human body, with a clearly defined head (the capitol complex). One of the most prominent buildings from this master plan is the Palace of the Assembly. The program features a portico, a circular assembly chamber, a forum for conversation and transactions, and stair-free circulation. This building claims Le Corbusierâ&#x20AC;&#x2122;s major architectural philosophies and style, mainly the five points of architecture from its open plan to the view of the landscape. Conceptually the building was designed as a horizontal rectilinear structure, square in plan with a monumental front portico sets up a dialogue with the corresponding entrance to the justice palace on axis with the assembly across the main plaza.

II.2.10.3

II.2.10.2 II.2.10.4

The plan of the parliament is an ideogram rich in intentions. It seems to be modelled on that of the Altes

fig.II.2.10.1: Le Corbusier, Assembly Building, Chandigarh, a view of the portico fig.II.2.10.2: Le Corbusier, Assembly Building, Chandigarh, facade. (Le Corbusier's Architecture in India, Peter Serenyi) fig.II.2.10.3: Le Corbusier, Assembly Building, Chandigarh, Floor plan fig.II.2.10.4: Project illustrations

Museum by Schinkel: both are variants on a fundamental type where a portico precedes transition towards a domical space and where the hierarchy between ceremonial spaces and more mundane functions at the offices is clearly marked. But Le Corbusier rejects neoclassical symmetry in favour of a turbulent contrast between symmetry and asymmetry, rectangular and curved, funnel and pyramid, box and grid. The roof volumes mark the chambers and enter a spatial dialogue that reaches out to mountains and sky. Within they battle with the grid, compressing space in a way inconceivable without the plastic intensity of cubism. The portico of the parliament blends the curved themes with the functions of channel and frontispiece. Once again, the gestural action of this this shape reveals its capacity to lunge over great distances, in this case towards the high court 400 yards away.

II.2.11.1,3

II.2.11.James Simon Galerie David Chipperfield 2007-18

II.2.11.4

The James Simon Galerie , built between the Kupfergraben canal and the west façade of the Neues Museum is an extension project that will serve as a new entrance building to the Museum Island ensemble in Berlin. The building exploits the potential of the exposed site, while at the same time supporting the urban relationships between the existing buildings. Beyond this, the design creates a physical connection to the main exhibition floor of the Pergamon Museum as well as to the Archaeological Promenade, which connects the four archaeological museums along the Kupfergraben canal. A staggering of the building dimensions ensures that the view from the Schlossbrücke into the depths of the Museum Island and of the west façade of the Neues Museum is preserved. A new colonnade continues Stüler’s colonnade, which currently ends at the Neues Museum, and forms a small colonnaded courtyard. An elevated plinth, corresponding in height with the substructure of the neighbouring Pergamon Museum, occupies the bank

of the Kupfergraben canal. A tall colonnade rises up from the plinth, extending the exterior spaces of the Museum Island and accessible to the public The architectural language of the James Simon Galerie adopts existing elements of the Museum Island, primarily from external architecture, such as built topography, colonnades and outdoor staircases. A contemporary building is developed from this context, whose architectural language reflects classical architecture without mimicry in the development of the details. The materiality of the building in reconstituted stone with natural stone aggregate blends in with the rich material palette of the Museum Island with its limestone, sandstone and rendered façades, while smooth in-situ concrete dominates the interior spaces.

II.2.11.1,3

Fig II.2.11.1,3: Front Views, James Simon Galerie, David Chipperfield, 2007-2018, (Photo courtesy of David Chipperfield Architects) Fig II.2.11.4: Floor plan, James Simon Galerie, David Chipperfield, 2007-2018, (Photo courtesy of David Chipperfield Architects)

II.2.12.1,2

II.2.12.ENPDAP Bologna

Headquarters

Saverio Muratori 1952-57

II.2.12.1,2

II.2.12.3

The only work of Saverio Muratori (1910 – 1973) in Bologna, has aroused strong controversy at its appearance, for the adopted language and historical references during the great modernism of 20th century in Italian Architecture. The building includes offices, shops, and houses. It incorporates the Bolognese serial construction system of wooden derivation, re-proposing the portico with extruded pilasters and the crenelated upper crown. With this project, he created an architecture that represents the city and it characteristics. As we know the porticoes, nominated as Unesco “world heritage site”, make the city of Bologna

to mention the porticoes of Piazza Maggiore, Piazza Santo Stefano, the Baraccano Conservatory, the porticoes of Strada Maggiore, the portico of San Giacomo Maggiore and Via Zamboni, the wooden porticoes of Via Marsala, the commercial portico of Via dell’Indipendenza and most importantly the portico of San Luca. The building designed by Saverio Muratori is an extension of this strong city element and acts as a public corridor and an entrance of the building. he used the building nearby as reference for its scale and usage of material which is brick.

unique in the world. Lights and shadows, deep architectural perspectives, different columns and capitals create fascinating and extraordinary urban images. A few

II.2.12.4

Fig II.2.12.1,2: ENPAS palace (later INPDAP), Bologna, 1956-1957. Photo by Paolo Monti Fig II.2.12.3: ENPAS bologna, Illustrations Fig II.2.12.4: ENPAS bologna floor plan, Saverio Muratori architetto (1910-1973)

PART III : SITE

III.1 Porticoes as Architectonic elements in Mantua

In this section the research is further strength and specified in to understanding of Porticoes as an architectural element in Mantua, location of the project. The series of Porticoes that spread all over the city from the ancient quarters till the recent modernist ones are investigated regarding their typology, function, architectural language, and scale. Porticoes has played a very important role in developing and connecting the city. Here its very important to mention master architects and their magnificent projects, such as the Basilica di St. Andrea by Leon Battista Alberti for example, whom he created a light connection of the church and the city by using porticoes as a crucial element. Even later during the modern times, we have Aldo Andreani who also in his project of Camera di Commercio inserted his project using portico as a filter element.

III.1.1

Fig.III.1.1: Master plan of Mantua, Porticoes highlighted

II.1.1.1

III.1.1 Church of Sant’Andrea 1470; 1732 Leon Battista Alberti; Luca Fancelli; Filippo Juvarra (dome) Commissioned by Ludovico Gonzaga, Leon Battista Alberti had an ought to design the church as the new home of the blood of Christ in Mantua and will also be in the heart of the city.

II.1.1.4

II.1.1.5 II.1.1.2

II.1.1.4

Written on his letter to Ludovico Gonzaga two years before his death, Alberti explained that the design of this church will be the most ideal church during that time. It will be built with a simple structural system, un-luxurious material such as stucco, and most importantly as the new iconic of the city that also give the space for the people. Located in the strategic centre, present day Piazza Andrea Mantegna the church is really the heart of the city for it spaces the people inside and outside. Aside from the church the entrance was designed as a gateway between the city and the temple. It is composed of a single central arch flanked by pilasters with capitals and smaller arches

Fig.III.1.1.1: A view of St. Andrea, archivio di Aldo Andreani Fig.III.1.1.2: A view from street, Photo by Paolo Monti Fig.III.1.1.3: Illustrations on Proportion and scale of elements Fig.III.1.1.4: St. Andrea, plan,Studio di restauro del prof.L.Toniato Fig.III.1.1.5: Plan of Sant Andrea.Borsi, F.(1977).Leon Battista Alberti:Harper and Row

on its sides. And the interior is a continuation of these language created on the façade. Here it is very important to mention the scale of this project. Since its beginning the portico and the church in general have a massive scale as compared to the city urban tissue and St. Andrea. This shows that the space was thought not as an element of the church but more as an element of the city to be used by the people. The façade of the church is also another critical example of Leon Battista Alberti’s search for classical antiquities proportion of Roman buildings.

III.1.2.1

III.1.2 Palazzo del Capitano 13th−14th century Unknown

III.1.2.2

III.1.2.3

Built on the typical Veronese medieval style, and dominated with the dark bricks, the Palace façade has a very simple and pure design, with only the venetian ornament at the top. It was in 1340 when the Gonzaga started to become a ruler of the city, the first captain Ludovico I Gonzaga made an enlargement and addition to this palace with another level storey and a portico. This new addition was connected to the Magna Domus, the palace was altered and enlarged to the length of 65 metres with the addition of the front portico and the Armoury Room on the top floor. Six large double lancet windows with trefoil arches were built into the long battlemented façade together with a monumental arch with heraldic decorations in the centre.

Fig.III.1.2.1: The Expulsion ofthe Bonacolsi (1494), a work of the Veronese painter Domenico Morone Fig.III.1.2.2: General floor plan of Palazzo Ducale, L’Occaso 2009 Fig.III.1.2.3: Plan and elevation illustration of Palazzo Del Capitano

Nowadays, the portico of Palazzo del Capitano stands as a main figurative element of the city as it works as the main entrance of the Ducal Palace Museum. Here the portico is working in two ways. First as an element of the city, it makes a smooth relationship between the palace and Piazza Sordello, Piazza Lega Lombarda as representatives of the city. And second as an element of the Ducal Palace, the portico acts as space defining the entrance of the Museum. Originally this portico was not intended to be the main entrance of the palace, that is why the scale is small and unexaggerated, good for the connection.

III.1.3.1,2,3

III.1.3 Ponte dei Mulini and Ponte di San Giorgio 13thâ&#x2C6;&#x2019;14th century Unknown

III.1.3.1,2,5

Mantua as a city of water was frequently under flood causes. This project was the dam bridge that created for the hydraulic system to regulate the waters around the river or Mincio that surrounded the city of Mantua. Ponte dei Mulini together with other system of the bridges in Mantua were the main elements for the division of the lake in to four artificial lakes.

It was built in bricks with the typical medieval style, has the assembly arches from one point to another that makes it one of the symbolic monuments in Mantua. In addition to the rich architectural heritage of the city, this ridge was also a monument recalling the character of the city as a city of water.

Ponte dei Mulini was the dam bridge that connect the city of Mantua with the Cittadella. now there is almost nothing of the remains after the bombing attack during the second world war in 1944. It was probably the longest portico of the city which acts as a main element of connection in a bigger scale, city with city.

III.1.3.1,2,4

Fig.III.1.3.1,2,3: Ponte Dei Mulini , Comune di Mantua Archives Fig.III.1.3.4: Ponte di San Giorgio Fig.III.1.3.5: Ponte di San Giorgio as seen in Andrea Mantegna's painting of Morte della Vergine, 1462

III.1.4 Camera di Commercio, Loggia dei Mercanti 1910–14 Aldo Andreani; Carlo Andreani

III.1.4.3

in un usual way in the city. The Loggia dei Mercanti of the building is a typological discovery of a portico being used as a public space in a modern building. Here we can see similarities of intervention regarding the use of material and the scale of its intervention with the church of St. Andrea. And as previously noted this signifies the portico not only works specifically in the building but also in the city.

The compact building occupies a small rectangular block (32 × 25 metres) with a solid structure. A skylight is in the centre above a vertical stairwell with three cantilevered flights of reinforced concrete steps forming the main staircase. More than a quarter of the area of the two lower floors in the northwest corner is occupied by the loggia with its seven slender arches, the ground floor with a rich variety of stylistic inventions brings us the use of portico

III.1.4.1,2

III.1.4.4

Built in the early modern era, this building is one of the public buildings that mark the urban redevelopment of the early 20th century. It was designed by the famous Milan based architect Aldo Andreani and structural engineer Carlo Andreani. Aldo Andreani brought some of the ideas of the project after the Milan World Expo that he saw. Specifically the Austrian Pavilion for which he started combining and experimenting with ornaments trough the materials.

Fig.III.1.4.1,2: Plan and elevation, Aldo Andreani, palazzo della Camera di Commercio con la Loggia dei Mercanti, Mantua, 1910 – 1914 (Camera di Commercio Mantova) Fig.III.1.4.3: Illustration of plan Fig.III.1.4.4: Detail of portico elevation, (Camera di Commercio Mantova)

III.1.5.3

III.1.5.1

III.1.5.2

III.1.5 Pescherie and Beccherie buildings 1536â&#x20AC;&#x201C;46 Giulio Romano

III.1.5.3

The Pescherie and Beccherie are consider as the one of the important works of Giulio Romano, the ducal architect of Mantua. The building started its construction on October 1536 with a letter informing Federico Gonzaga. It has first block of a building with six pillars and another one known as the Beccherie, the market stretches on two floors along the Rio canal between two bridges, Ponte San Silvestro and Pescherie. The lower floor, level with the canal, is an arched portico with Corinthian columns into which water was channelled for sanitation. The upper presented a close, with a regular array of vertical windows.

the west portico differ in size and are not aligned, which has prompted more than one scholar to suggest building on a pre-existing structure. The east portico presents six bays, the first of which to the north is embedded into a building and provides access to the medieval warehouses along the canal, which can also be reached by a tunnel from the Beccherie. Nowadays it has become a silent monument in the city. Even though is not used as the market as before, the idea of a public shelter for the city still remains. Here it is very important to note the scale of the buildings in which they beautifully blended with the city quarter.

Giulio Romano built this portico with in the historical fabric and on the medieval bridge, clearing representing its architecture of rustification. It composed two parallel arcades and a low attick with horizontal windows framed by pilasters beneath a denticulated cornice. The pillars of

Fig.III.1.5.1: Plan of the eastern loggia of the Fish Maret (Survey by T. Carunchio) Fig.III.1.5.2: F.L.Montini, L.Puzzi, the New facade of the meatmarkets on the Ponte di S.Silvestro 1829 (Mantua, Fondazione D'Arco) Fig.III.1.5.3: A view of Fish Markets and Meat Markets

III.1.6.1

III.1.6.2

III.1.6 Housing, Cooperativa d’abitazione in Goito and Pegognaga 1982 Aldo Rossi, COPRAT Postmodernism movement in Italy reached Mantua with this project of Aldo Rossi shown in Cooperativa d’abitazione, a social housing in the outskirt of the city. In 1979 Aldo Rossi began a period of work on the Mantuan territory with the houses in Goito and Pegognaga, which lasted until 1983. It comprises a total of five projects which was an opportunity for him to investigate the specific character of rural housing typology of the south of Po Valley. The terraced houses are following the planimetric layout of the Goito houses he designed in few years before in 1979. The houses are characterized by the presence of a common double-height portico extended for the front, taking the houses of Po valley as a reference for the scale and material. Its built of cement mixed with bricks, to obtain a thick ochre/red pastel colour to be spread on the façade.

III.1.6.3

Fig.III.1.6.1: Front view of COOPERATIVA D’ABITAZIONE, (Courtsey of Andrea Pirisi) Fig.III.1.6.2: Front view (Courtsey of Neue Regel Archive ) Fig.III.1.6.3: Floor plan, Fig.III.1.6.4: A view of the portico, (Courtsey of NMarco Introini )

The portico is supported by the think concrete pillars, while the roof structure is made of wood and the external cement floors. The complex of the two parallel terraced houses is closed to the street from the orthogonal building that houses the boxes, and that also create an entrance portal. This housing series is the interpretation of the idea of traditional agricultural architecture of the area, specially how the portico is used as a common area and as the same time as a filter between private and public.

III.1.7.1

III.1.7 House of the Merchant Giovanni Boniforte 1455 unknown Located in the Piazza delle Erbe, on the corner of Piazza Mantegna, we find a small and originally Gothic house by Giovanni Boniforte da Concorezzo. At the time when Mantua is under the patronage of Ludovico III Gonzaga, Boniforte was a wool and fabrics supplier of the Gonzaga court. The three-stories building has a faĂ§ade of the small golden leaves in terracotta, with the late gothic and oriental patterns of Venetian taste. The ornamentation and architectural language was inspired by the the Ducal Palace in Venice and it acts as a transition style between gothic to the Renaissance architecture. Variety of influences may be related to the ownerâ&#x20AC;&#x2122;s contacts with Venice, from which he imported merchandise.

room each on the second and third. The cellars included an old well and a masonry passageway beneath the paving of the portico. The trabeated portico with four marble columns and capitals carved with various decorations denote the influence of 15th-century Veneto architecture. The portico used to be an entrance of the shop. Nowadays, even already not owned by the family of Boniforte anymore, the function of the building remains the same, the ground floor functions as a shop, and the residences for the upper floors.

Regular in shape, the four-storey building housed the shop on the ground floor, storerooms on the first and one III.1.7.2

Fig.III.1.7.1: A view of the House of the Merchant from Piazza delle Erbe (Courtsey of Marco Introini) Fig.III.1.7.2: A view of the House of the Merchant from Piazza Andrea Mantegna (Photo: Marco Introini)

III.1.8 Porticoes in the city Added to the previously listed buildings of Mantua representing different times and architecture eras, there are some more to list with the same theme of using porticoes.

III.1.8.1: Palazzo della Ragione 1198–1227; 1462–1473; 1250 unknown; intervention by Giovanni da Arezzo; Luca Fancelli; Doricilio Moscatelli; Carlo and Aldo Andreani

III.1.8.2

III.1.8.3

III.1.8.2

The building divides Piazza Broletto, the hub of public life, where a seated statue of Virgil looks down from the wall, from Piazza delle Erbe, the marketplace. Here we find a bold element of the buildings, the porticoes on the ground floor.

III.1.8.2: Teatro Sociale 1818-22 Luigi Canonica

III.1.8.4 III.1.8.1

Teatro Sociale – named after its promoting company – is one of the finest public buildings. The façade, two orders in height and characterized by a giant pronaos with six ionic columns and a triangular pediment, constitutes a sort of urban backdrop at the end of Corso di Porta Pradella, the gateway to the old town.

Fig.III.1.8.1: A view of Palazzo della Ragione from Piazza delle Erbe Fig.III.1.8.2: Palazzo Te,a view from the "Loggia d'onore". Fig.III.1.8.3: Teatro Sociale, F.L. Montini Fig.III.1.8.4: A view of Piazza delle Erbe,F.L. Montini

III.1.8.3: Palazzo Te 1525–1630 Giulio Romano; interventions by Nicolò Sebregondi and Paolo Pozzo This new building for private leisure and hospitality marks the southern end of the processional way known as the Gonzaga axis. Based on the layout of the Roman domus, Palazzo Te comprises three apartments and a series of service areas, on the west and south sides, on two orthogonal axes that intersect in a central courtyard. The longitudinal axis frames the vista from the entrance on the west side to the garden and beyond. With all this detailed study and analysis of Portico as an architectonical element in the city we were able to understand the different typology and approaches of the different building in the city. The element exists in all over the city, from the city centre to the rural part, from the historical structure to the contemporary, from the single building to the complex building. All the porticoes from these examples are taken based on the orientation of the building towards the city. Finally, the study and analysis come in to detail in to the Ducal Palace of Mantua. As it was described in the history, the Ducal Palace is recognized as a city within a city for its contains a collection of building of strong architectural vocabulary. Porticoes are one of the key elements in the evolution of the palace.

III.2 Porticoes as elements of The Ducal Palace

The Ducal Palace of Mantua as described in the previous chapters houses many and many significant buildings with a rich architectural vocabulary. And it is no surprise that the buildings has widely intervened with porticos as a very important element of their function and aesthetic image. Since the buildings are inside a place, the functions and typologies of their construction might have been different from those ones in the city. The Porticoes series inside the palace used to be the elements of the private residence, now element of museum. In the palace, portico uses as an element that makes the definition of the inners-space to the open space. Most of the open spaces are private as we can see in Cortile della Cavallerizza, Giardino Pensile, and Giardino dei Semplici. The portico in Piazza Castello stands as the only public space that we have included in the study. This part of the study of portico will more into the understanding how the open spaces and the buildings always have porticoes on their element between.

Fig.III.2.1: Master plan of the Ducal Palace, Porticoes highlighted

III.2.1

III.2.1.1

III.2.1 Piazza Castello 1549 Giovanni Battista Bertani Open to the public, Piazza Castello is one of the historic open spaces of the Ducal Palace. It is in the middle of building from important architects like Giovanni Battista Bertani, Antonio Maria Viani, Ferdinando Galli Bibiena, Andrea Galluzzi and Giuseppe Piermarini. For this the Piazza is surrounded by porticoes on its three side. From this point we can see all the important monuments of the Palace like the roofs of Domus Nuova, Castello di San Giorgio, and the tower of the church of Santa Barbara. III.2.1.3

Rectangular in plan the portico acts as a corridor that connects the surrounding buildings. The semi-circular shape of portico also created the invitation as the entrance of the castle. Nowadays, in the museum typology, this area became the entrance for the museum visitor to Camera degli Sposi.

III.2.1.2

III.2.1.4

Fig.III.2.1.1: Aerial view of Piazza Castello Fig.III.2.1.2: Master plan of the Ducal Palace, Piazza Castello highlighted. Fig.III.2.1.3: Illustration of Piazza Castello's relationship with the nearby building Fig.III.2.1.4,5: A view of Piazza Castello

III.2.2.1

III.2.2 Cortile della Cavallerizza

III.2.2.2

1538–1539; 1560; 1570–1610 Giulio Romano; Giovanni Battista Bertani; Giuseppe Dattari

Built for Federico II Gonzaga in 1538-39 by Giulio Romano, the Corte Rustica or rustic palace presents a lower storey with a portico of arches in the rustic style and vaults and an upper with an ashlar facing cadenced by spiral semi-columns supporting a Doric entablature with triglyphs. III.2.2.3

III.2.2.4

After the death of Giulio Romano, Giovanni Battista Bertani became the court painter later architect of the city and made the intervention that connects from La Rustica with the Loggia dei Marmi. Bertani altered and doubled the its length and closed the arcades facing the courtyard, creating a gallery where the growing number of antique statues in the Gonzaga collection could be displayed. It was the duke’s intention that this modernization of his palace fall in line with a contemporary trend in other more sophisticated centers like Rome and Florence: to include a

Fig.III.2.2.1: Aerial view of Cortile della Cavallerizza Fig.III.2.2.2: Master plan of the Ducal Palace, Cortile della Cavallerizza highlighted. Fig.III.2.2.3: Illustration of Cortile della Cavallerizza relationship with the nearby building Fig.III.2.2.4,5: A view of Cortile della Cavallerizza

gallery as a sort of public area with in the ruler’s residence. As the name suggests, Cortile della Cavallerizza used to have function as the garden of the horses collection of Gonzaga, which represents the novelty, and the corridor of Cavallerizza as the portico from the first level as a platform of the view towards the courtyard. With a reference of building on its surrounding, the portico stands on two stories and over the functions listed below, it also acts as a threshold between the courtyard and the view of the lake.in the scale of the city, this portico is working as a filter between the lake and the palace.

III.2.3.1

III.2.3 Giardino Pensile

III.2.3.2

1579-80 Pompeo Pedemonte As the only hanging garden in the palace, Giardino Pensile has a different typology of portico in comparison with the other porticoes in the palace. The rest of the porticoes work as a filter that connects the view from the inside to the outside. The garden has a square shape and symmetrical order from Sala dei Fiumi, and the octagonal dome in front of it. The portico has a typical Palladian language, with double colonnades and used stone in the lower part and stucco in the upper part as construction material. III.2.3.3

Even though the porticoes act as introverted element towards the garden, there is a small opening that somehow become the only connection with the outer space, Piazza Sordello.

III.2.3.4

Fig.III.2.3.1: Aerial view of Giardino Pensile Fig.III.2.3.2: Master plan of the Ducal Palace, Giardino Pensile highlighted. Fig.III.2.3.3: Illustration of Giardino Pensile relationship with the nearby building Fig.III.2.3.4,5: A view of Giardino Pensile

III.2.3.1

III.2.4 Portico in the courtyard of Castle of San Giorgio 1390â&#x20AC;&#x201C;1406; 1459â&#x20AC;&#x201C;1474; 1531 Bartolino Ploti; Andrea Mantegna; Luca Fancelli; Giulio Romano The castle of San Giorgio was built on the ruins of the church of Santa Maria di Capo di Bove from 1395 and concluded in 1406 on commission of Francesco I Gonzaga. It was designed by architect Bartolino da Novara. Square in plan with four projecting corner towers, it is surrounded by a deep moat, which was later bridged with a staircase to connect it with the palace.

III.2.3.2

III.2.3.3

On the ground floor of the building, we find the portico laid in L-shape and next to a small courtyard. It is made of arches and colonnades signifying as the terrace of the palace towards the outside space and the sky.

Fig.III.2.3.1: Aerial view of Castle of San Giorgio Fig.III.2.3.2: Floor plan and section of Castle of San Giorgio with portico highlighted Fig.III.2.3.3: A view of Castle of San Giorgio

III.2.4.1,2

III.2.5 Portico at Giardino dei Semplici 1595â&#x20AC;&#x201C;1618 Antonio Maria Viani, Zenobio Bocchi Antonio Maria Viani was the superintendent architect at the time this portico was made. The portico connects La Rustica to the Teatro Nuovo located next to the Giardino dei Semplici. Nowadays the portico remains as only silent monument on the side and does not have the function as a corridor anymore.

III.2.4.3

III.2.4.4

III.2.4.5

other gardens, the typology of the Giardino dei Semplici is not surrounded by the corridor on its four sides rather it comprises this portico as the only element.

Same like the portico at Cortile della Cavallerizza, this portico also acts as a filter between the palace and the lake. This two storied volume has a scale reference from the previously built The Rustica. Not the same as the

Fig.III.2.4.1,2: Aerial view of Giardino dei Semplici Fig.III.2.4.3: Master plan of the Ducal Palace, Giardino dei Semplici highlighted. Fig.III.2.4.4: Illustration of Giardino dei Semplici relationship with the nearby building Fig.III.2.4.5: A view of Giardino dei Semplici

III.3 Giardino dei Semplici (Project Area) 1603 Zenobio Bocchi

III.3.1 Introduction and General History as the project Area Also known as Giardino del Padiglione is located in the furthest south of The Ducal Palace. The border from the palace to the city, and next to the Cortile della Cavallerizza, piazza Santa Barbara, and piazza Lega Lombarda. With the square shape, it was designed in 1603 on the commission of the landscape architect of the palace Zenobio Bocchi on the site of 34,000 square meters which also includes other small properly designed green spaces on one of the site. The garden is divided into four beds in which officinal herbs were cultivated which were thought to balance the four temperaments identified by 16th century medicine for some of particular disease such are phlegmatic, choleric, melancholic, and sanguine. It was also known to preserve fragrant plants and rare herbal essences. The tidy alleys and the compositions of flowers and plants still existing today and remains as a botanical garden inside the museum. In the garden, the numerous aromatic herbs could make the visitors projected into the past as the old garden during the Renaissance. II.2.5.1

II.2.5.2

makes the garden has a direct perfect view towards the lake even only seen from the lower level. The garden surrounded by three buildings on site, after the Domus Nova, there is the building of Apartment of Metamorphoses, and the portico by Antonio Maria Viani. The four beds that makes the ornament of the garden also responding by the Apartment of Metamorphoses that represents the four elements on the nature with four rooms that has different ornamented ceiling. The ratio and the perfect geometry that on the four beds in the garden has the same proportion with the building next to it which is Apartment of Metamorphoses. The ratio analysis that we made is helps us to understands that the garden has the philosophy of Italian Garden during the renaissance. The perfection on the ground that heading towards the sky which is represented as heaven on earth.

The Giardino dei Semplici made because of the apartment Domus Nova. Makes the building as the main element of the garden. The typology of the garden that made as the natural terrace from the Domus Nova towards the lake because of the higher level with the level of the lake, that

Fig.III.2.5.1: Giardino dei Semplici, 1603 (Mantua, Biblioteca Comunale), Fig.III.2.5.2: Bertazzolo, Particolare della pianta di mantova (1628)

III.3.2 The Italian Gardens III.3.1

"The construction will give pleasure to the visitor if, when they leave the city, they see the villa in all its charm, as if to seduce and welcome the new arrivals. Toward this end, I would place it on a slightly elevated place. I would also have the road climb so gently that it fools those who take it to the point that they do not realize how high they have climbed until they discover the countryside below”. : "...with in the Garden you should place porticoes for giving shade, planters where vines can climb, placed on marble columns; vases and amusing statues, provided they are not obscene. You should also have rare plants.... Trees should be aligned and arranged evenly, each tree aligned with its neighbours”. Alberti, Leon Battista. Édifices destinés aux catégories particulières de citoyens, in L'art d'édifier, translated from the Latin by Pierre Caye and Françoise Choay, Book I, Paris, 2004: 429.

III.3.1

III.3.3

The Italian Renaissance garden was a new style of garden which emerged in the late 15th century at villas in Rome and Florence, inspired by classical ideals of order and beauty, and intended for the pleasure of the view of the garden and the landscape beyond, for contemplation, and for the enjoyment of the sights, sounds and smells of the garden itself. In the late Renaissance, the gardens became larger, grander and more symmetrical, and were filled with fountains, statues, grottoes, water organs and other features designed to delight their owners and amuse and impress visitors. The style was imitated throughout Europe, influencing the gardens of the French Renaissance and the English garden. The major characteristics of the Renaissance gardens was the introduction of a strong central axis and the discovery of linear perspective as a link between the main buildings and the different portions of the garden. Gardens became separated into compartments that could be named, enclosed, and hidden to create an unfolding sequence of

spaces. The axis organized and unified the whole composition. Geometry was seen as a reflection of a divine and cosmic order and a lot of Renaissance study was focused both on trying to find geometric patterns in nature and then trying to recreate this codified order in architecture, art, town planning and gardens. Art and science were strongly linked, and a study of proportion and the human figure created a framework for a classical order of perspective, proportion, symmetry, and geometric forms, circles and triangles. Here we have looked over four best examples of Italian gardens as paradigm to our Giardino dei Semplici. A.Garden in Villa Madama,1525, Rome One of the role model for the sixteenth-century gardens. The terraces well organized along a central axis which led from the casino at the top of the site to see the river. The buildings were arranged along the second axis at right angles to the first. B.Garden in Villa Giulia, Rome ,1553, Rome At the Villa Giulia, the area between the palace and the upper garden was connected by a path with benches and inscriptions. C.Garden in Villa Medici, 1680, Rome In plan, appears to be the traditional compartmented garden, was depicted in a painting in one of the small pavillions at the villas with pergolas covering all the paths, thereby creating a series of separate spaces. D.Garden in Villa D’Este, 1612, Tivoli Garden in this early sevententh period were laid out with formal and axial plans, yet the plan almost always included a grove or an informally planted area.

III.3.4

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Fig.III.3.1: Villa d'Este, Tivoli. Plan. (Plate 140) Architectural Gardens of Italy: A series of photogravure plates from photographs made for and selected by A. Holland ForbesFig.III.3.2: Villa Madama,Rome, reconstruction of plan (drawn by D. Van Z,Fig.III.3.3: Villa Giulia , Michelangelo Buonarroti (1475-1564), Fig.III.3.3: Villa Medici, H. Inigo Triggs

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A III.3.3 Four Elements in the Giardino dei Semplici For a better understanding of the problems and necessity of the project we break down the project in to the main figurative elements. We have noted Domus Nova as “A”, Apartment of Metamorphoses as “B”, the portico in front of Domus Nova as “C”, and the last and fourth element of the garden as “D”.

III.3.3.1

A. Domus Nova

B. The Apartment of Metamorphoses

1480–1484 Luca Fancelli

1595–1618 Antonio Maria Viani;

Luca Fancelli (1430−1502) enlarged the east part of the Corte Vecchia between 1480 and 1484 with a new parallel wing in the pure Renaissance style. It was certainly the most of ambitious architectural project undertaking in the second half of the 15th century in the Palace. It has Ushaped plan that is usually considered incomplete, for it lacks the fourth side that would have turned it into a square. The front of the Domus Nova overlooking the garden is big enough to be visible from the lake, inducing the architect to give it the appearance of the main façade. The architecture of Luca Fancelli in Domus Nova expressed the typical style of Quattrocento Renaissance architecture that has become the transition between medieval and high Renaissance architecture. The massive volume, with two boxes rising higher and dominated with the typical medieval dark brick material makes it a very strong image in the garden. The inserted colonnades ornament on the façade represents the Renaissance architecture and also to reduce the stereotomic approach blended with tectonics elements. Nowadays, the Domus Nova is uses as the private offices of the Ducal Palace and not have public access for the museum visitor. Even though, the building itself is one of the most important exhibition in the palace.

The narrow wing along the north side of the Palace contains the four rooms of the Apartment of Metamorphoses or Passerino Gallery, designed by Antonio Maria Viani in 1595 and decorated with episodes from Ovid’s Metamorphoses (completed in 1606), which contained Duke Ferdinando’s cabinet of natural curiosities.

Fig.III.3.3.1: Site plan, with the four facades of the garden Fig.III.3.3.2: Elevation of Domus Nova and the Apartment of Metamorphoses

102 III.3.3.2

The long assembly façade that contained Apartment of Metamorphoses stands with almost no remaining elements except the niches and openings of the old chapel. The first floor of the building in the part of La Rustica has the connection to the first level of portico by designed by Antonio Maria Viani. Nowadays, the building does not have any direct access to the garden. The corner of the service room next to Apartment of Metamorphoses become the only connection to access the garden from inside the palace. The level difference of the four rooms with garden level has also made it not easy to make an access towards the outside.

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III.3.3.3

C. Gallery and Portico

D. The border wall

1595–1618 Antonio Maria Viani;

Unknown

The gallery was being used as a very important elemet of connection in the construction of the Ducal Palace. And this gallery buit by Antonio Maria Viani is one example. It was built to continue the connection created between Apartment of Troia to La Rustica though Cortile della Cavallerizza by Giovanni Battista Bertani. Antonio Maria Viani made the connection with another two stories portico that connects La Rustica to the Teatro Nuovo. The two storied building which has the assembly arches with ornamented colonnades covered with the rusticated stucco material acts as a threshold from the garden towards the lake. The façade facing towards the Domus Nova as the main element in the garden make this portico also contributing to the vocabulary facades of the garden. As Teatro Nuovo does not exist anymore, the portico remains unused and decaying.

The last element with a high wall and trees is the only element making a direct relationship with the city. It acts as a border of the palace with city. Here it is very important to mention the trees. The trees are very tall almost as tall as the wall and completely covers the view of the wall from the garden. It creates a very natural façade. The wall is also standing there making a direct connection to the houses from the city.

Fig.III.3.3.3: Site plan, with the four facades of the garden Fig.III.3.3.4: Elevation of the portico by Antonio Maria Viani and the border wall

104 III.3.3.4

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III.4. The Needs

After the research about the porticoes that spread in all over the city in Mantua, and the relationship between portico towards the open spaces, the buildings, and also as the corridor at the Ducal Palace, we realized that the typology of the Giardino dei Semplici has the unfinished elements. The open spaces in the palace such as piazza, garden, or the courtyard are surrounded by the porticoes as their corridor, or the filter that makes a relationship between inside and outside, as the element that makes the building have the entrance or the exit area and as the defining element of the space. Reconstructing the portico as an element of the garden would introduce a new program and architecture in to this area.

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PART IV : CONCEPT

IV.1 Program : The Route, Connections, and Semi-Public Space IV.1.1 Route: The existing route In the original route of The Ducal Palace before the earthquake in 2013, The museum visitor flows from the entrance in Piazza Sordello to Palazzo del Capitano, through Corte Vecchia, Castello San Giorgio Complex, Corte Nuova, and return to Palazzo Capitano for the exit. This route misses few of the parts of the Ducal Palace including the the Apartment of Metamorphoses where the thesis project resides. The proposed route The idea of changing the route starts from the decision taken during the final workshop of Antico e Nuovo. After the historical research, we realized that the Apartment of Metamorphoses is the last development of The Ducal Palace complex. And when the route of the museum was changed, the rooms has lost dialogue with the outside elements. Here the decision to change the route of the museum comes with an idea of making the rooms of the Apartment of Metamorphoses an exit and a median between the museum tours and the outside of the palace. The new route starts at Palazzo Capitano, goes through Corte Vecchia, Castello di San Giorgio, Corte Nuova, then Camera Della Mostra and finally arrives to the Apartment of Metamorphoses which leads to the outside, the Giardino dei Semplici as the last exit of the museum visitors.

IV.1.1

110

The exit With the new route we arrive at the Apartment of Metamorphosis and Giardino dei Semplici as the exit of the museum also because these two sites are the strategic location of The Ducal Palace and could act as the first encounter between indoor exhibition and the outdoor exhibition. Fig.IV.1.1: The old and the new route map of the museum

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IV.1.2 The connection: Connection inside the Ducal Palace The proposal of the new route brings the visitor out from the indoor exhibition of the museum in to the outdoor exhibition of the architecture of the Ducal Palace. In addition, also to use this element as a connecting device with the neighbouring buildings, because it resides with these important buildings of the palace. The idea of the connections is also to make the dialogue with the main elements inside the Giardino dei Semplici. The first element Domus Nova is one of the most important buildings in The Ducal Palace designed by Luca Fancelli. Because of its function as a private office, the building seems to be isolated. In this project the Domus Nova will again be the important element of the garden and make a dialogue with the neighbouring structures. The other element is the portico in front of Domus Nova. It was designed by Antonio Maria Viani and is almost abandoned with multiple structural failures.

IV.1.2.1

La Rustica Temporary Gallery and Cavalerizza The temporary gallery located in La Rustica houses the contemporary art exhibition in the Ducal Palace. The gallery is also in a close location towards important open spaces such as Cortile della Cavallerizza and the Giardino dei Semplici. The visit of this gallery is not a part of the museum vist even though it houses the master works of Giulio Romano and Giovanni Battista Bertani next location. Connection between the Ducal Palace and the city Giardino dei Semplici is located at the border between The Ducal Palace and the city. To connect between the public area nearby such as Piazza Santa Barbara, Giardino Lega Lombarda, Piazza Castello, and Piazza Sordello could make this area become the filter between the City and the Palace. This makes the intervention, not only inside the palace but also inside the city.

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Fig.IV.1.2.1: A sketch of possible connections to be created by the Apartment of Metamorphoses

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IV.1.3 Semi-Public Space: After the analysis of open spaces and gardens of the palace, we have understood that all the gardens are closed to the public. However in addition to the previous advantages that we have of the Giardino dei Semplici it is reasonable to make it the new public space open to the people. If we see the function of the palace complex, most of its parts are working as a museum and there almost no public space open for the city. This garden will be the only garden that open to the public and to create the dialogue between the palace and the city. We have also took into consideration that it should act as a semi-public not a completely public space. For this it will only work during the opening hours of the museum. It is true that in the point of view of museum visitor, Giardino dei Semplici will be the exit experience, but in the point of view of the non-visitor, the garden will be the entrance for the part of the Palace. This two typology, paradoxically makes the free flows movement of this area.

IV.1.3.1

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Fig.IV.1.3.1: Master plan showing the possible connections of semi-public spaces

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IV.2 Design Concept

IV.2.1 Study of the main elements: A. Domus Nova is the strongest and oldest building on site. For this it acts as a reference for the construction of the new elements for its scale, language and material. The project looks for better celebration of this old Ducal Apartment through the semi-public space proposed in the garden.

C IV.2.1

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B. The second element stands with its surviving faรงade of an old chapel. Compared to the previous building, this apartment is les figurative and bold. The four rooms contained are one meter higher than the garden level and which makes it ideal to make an intervention on its level. This building needs a connection towards the outside to define quality of the space ad its function better. The idea is to make intervention that could connect between inner space of the Metamorphoses rooms and the outer space of the garden. The proposal looks for a design of new faรงade that responds to the different elements of the building and creates a harmony as a whole.

to understand the division of its construction and language created on the ground floor with first floor. This division could be used as a reference of the new interventions together with Domus Nova. D. The last element with a high wall and trees is the only element making a direct relationship with the city. It acts as a border of the palace with city. The proposal should take in to consideration the surviving trees, to be used as constructive elements of the new faรงade of the intervention. The trees help to create a natural faรงade making a dialogue with the botanical gardens inside the Giardino dei Semplici. The function of this new intervention will be dedicated for outdoor activities related to the garden, a view platform, an outdoor exhibition such as sculpture exposition and acts as an entrance exist of the new place.

Since it is next to the strong image created by Domus Nova, the intervention on this side should create a dialogue of language and geometry. This new intervention answers the problems of volume, scale, connection and image. This intervention should also act as a filter space between the indoor tours of the museum and the outside garden. C. The Portico in front of the Domus Nova will be useful as a new connection. The first move is to make a complete restoration of its structure and to refunction it again as a crucial element of the site. Here it is important

Fig.IV.2.1: Site plan and Elevation showing the possible Proposal of the two Porticoes

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IV.2.2 Intervention Result: Porticoes as new volumes The typology of the garden on the Italian Palaces and cloisters is to have one vocal point in the middle and surrounded by porticoes as a filter. The new intervention proposed in this project is to complete the typology of Giardino dei Semplici, putting Domus Nova as the focal point, and surrounded by porticoes. After a carefull study of porticoes through time in general, in Mantua and in the Ducal Palace in specific we decided to make two different volumes in order to complete the typology od the garden comprised by three. These new porticoes will be responding to the existing structures they reside and according to the functional needs of the analysis that we have made.

â&#x20AC;&#x153;portico as new volumesâ&#x20AC;?

The proposal is a continuation of a new and contemporary insertion inside the old palace making a dialogue between architecture and the time. This intervention also completes the vocabulary of the palace for it will also include a contemporary architecture together with the rich architecture of the past.

IV.2.2.1 IV.2.2.2,3

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Fig.IV.2.2.1: Bertazzolo,Particolare della pianta di mantova (1628) with the project area highlited Fig.IV.2.2.2,3: Plan and Axonometry showing the new intervention

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IV.3 Volume, Material, & Structure

IV.3.1 Study Proportion: Geometric Ratio Analysis One of our research towards the site is the geometric ratio analysis. To understands better the different proportion of each building and to create the scale of the new volume. A detailed proportion is studied over the façade of the building of the Apartment of Metamorphoses and in relation to the other elements surrounding the garden. The chapel stands in the middle of the building, becoming the centre of the composition of this façade. We have also noted that there is a geometric relationship between the garden and the building as it responds in scale and in language also regarding to the plan, the proportion of Giardini dei Semplici is responding the ratio of Apartment of Metamorphoses.

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120

Volume Proportion The concept developed here regarding the proportion of the new intervention comes from the neighbouring structures we have in the area. It is quite reasonable to take a horizontal reference from Domus as a tool for the composition of the new portico. The new portico stands as a one floor building because of the functional needs as a connection. La Rustica on the other side of the garden also used as a tool for the making of the vertical connection tower proposed at the corner of this portico. The second portico’s will be the continuation of the portico by Antonio Maria Viani both in scale, proportion and functional division between floors.

IV.3.2 Fig.IV.3.1: Plan and elevation Illustration showing the Geometric proportion, scale and structure of the buildings in the project area. Fig.IV.3.2: Scale Illustration with the Elevation of the four main buildings in the project area.

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IV.3.2 Study Material:

The next issue is to decide the material that we will use in the new porticoes. The proposal looks for modern material that have the same experience as the old buildings, and also to avoid the usage of the superficial materials. The concrete is a modern material that also have the same impression as marble or stone. Modernist architects such as Le Corbusier used concrete not only to represents modernity but also to create spiritual space experience on the church projects for example, or Carlo Scarpa that also uses concrete on his most of his historical interventions and new projects. Tadao Ando in Punta Della Dogana, Venice, also proved that concrete could blend delicately with the old structure such as bricks and stones. This decision to use concrete is one of the clear expression of the dialogue between the old and the new.

IV.3.2.1

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Fig.IV.3.2.1: Study of Materials

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IV.3.3 Design Approach: Stereotomic and Tectonic After studying about proportion and material, we are using those studies to brings our final design result for two interventions.

IV.3.3.2

Portico No.I

Portico No.II

The first portico will have similar language to Domus Nova. It will appear as a massive volume with the horizontal opening in the middle and a tower as vertical connection at the end near the next portico. Further more the new portico refers its proportion from the Domus Nova for this it comprise only one floor with a strong application of its material and image.

The second portico will take in to consideration the portico by Antonio Maria Viani. It will refer the scale which is two storied, a light approach with difference on its ground and first floor. The materials chosen will support this intention.

With these two main interventions, Giardino dei Semplici will be complete as an Italian and Renaissance garden typology. Domus Nova will be the focal point of this composition gain, surrounded by four porticos of different reconstruction unified by a harmonized scale and vocabulary of language.

IV.3.3.1

124

Fig.IV.3.3.1: Study of Design Approach Fig.IV.3.3.2: Illustration showing the Stereotomic and tectonic proposals of the new porticoes.

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PART V : PROJECT

V.1 Survey Drawings

Fig.V.I.1: General floor plan of the Ducal palace Fig.V.I.2: Longitudinal section surveyed drawings

The historic analysis and survey of the project areas were important in gaining a complete understanding of the spaces and to produce the existing architectural drawings. From this, 3D modelling was used to digitally recreate the spaces and test possible design solutions.

V.I.1

128

V.I.2

129

V.I.4

V.I.3

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Fig.V.I.3: Transversal section surveyed drawings Fig.V.I.4: Analysis of material and Decay of Buildings

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V.2 The Proposal

V.2.2

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V.2.1

Fig.V.2.1: Master plan Fig.V.2.2: General floor plan

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Portico No. I

Portico No.II

V.2.3

134

Fig.V.2.3: Perspective view of the intervention from Domus Nova

135

Project Sequence Following the change in route of the museum tour in the Ducal Palace, the sequence will arrive at the Apartment of Metamorphoses with its four rooms. The four rooms with different ornament of the ceilings represents the Nature, Fire, Water, Air, and Earth. The strong image of the ceilings forced the project to make a silent intervention inside the rooms. Here the only intervention is about making these rooms the last destination of the museum route with a light installation to make an exposition about the ceiling. The intervention continues making four big openings changing the windows in to doors. From the inside people could perceived the natural ornaments of the ceiling and could still see the Giardino dei Semplici outside. Ones we go out, there is the platform space covered by the threshold of the new portico, where people can perceive the whole picture of the garden including Domus Nova, and the three Porticoes enclosing the garden.

possibilities of going inside garden, going to the second portico, or using the connection tower to access the temporary exhibition gallery at La Rustica and the first floor of the Portico by Antonio Maria Viani. On the ground floor of the second portico, there is the ramp that goes up to the first level where we can see the outdoor exposition and a view platform to see the full garden. The second Portico is connected to the first floor of Portico by Antonio Maria Viani to see the view towards the lake and towards the Garden again.

The new filter between the indoor flows and the outdoor space helps to create a free flow. Where there are a variety of option of function. the flow moves to a small corridor which brings the us to the new entrance of La Rustica, or to take the ramp that goes down to reach Giardino dei Semplici.

for the People Coming for the temporary exhibition at La Rustica, the route is inverted.it starts from the gate where we can perceive the image of the trees on the front, and Domus Nova on the left. Continuing to walk through the second portico, we reach at the garden or we can either take the ramp that goes up to the first level.

The next intervention on the first Portico is the heavy concrete wall covering the remains of the chapel on the front faรงade of the Apartment of the Metamorphoses. The idea is to isolate the view of the garden. This intervention also includes a platform with enough space to sit and people could stay for a moment before continuing to the next places.

With this new intervention the two new Porticoes become the smart containers that could solve the functional, connection and aesthetic problems of this area. It creates a new definition of space with new elements yet following and respecting the old setting.

On the corner of the first portico, we have the vertical concrete connection tower. It works as the new entrance of La Rustica. from this tower we can also have access to wards the old portico by Antonio Maria Viani which is also connected with the first level of the Second portico.

The idea of free flow is more strengthened ones people arrive in Giardino dei Semplici. There we have the

V.2.4

136

Fig.V.2.4: Exploded Axonometric view of the intervention

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V.3 Intervention Drawings

11 17 10

19 8 6

Site Plan 2

5 3

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V.2.5

1. Giardino dei Semplici by Zenobio Bocchi 2. Portico no.I 3. Portico no.II 4. Domus Nova by Luca Fancelli 5. Portico and Gallery by Antonio M. Viani 6. The apartment of Metamorphoses 7. La Rustica by Giulio Romano 8. Cavallerizza by Giovanni Battista Bertani 9. Giardino de Lombarde 10. The Tower of The Church of Santa Barbara 11. Piazza Santa Barbara 12. The Church of Santa Barbara by G.B. Bertani 13. Piazza Castello 14. Cortille della Otto Facce 15. Cortille di Onore 16. Cortille dei Cani 17. Giardino dei Bastione 18. The apartment of the Troia Fig.V.2.5: Site plan

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V.2.6

140

V.2.6

V.2.7

Fig.V.2.6: Sectioned Elevation A Fig.V.2.7: Ground floor plan Fig.V.2.8: Sectioned Elevation B Fig.V.2.6: Sectioned Elevation C Fig.V.2.7: First floor plan Fig.V.2.8: Sectioned Elevation D

V.2.8

141 V.2.8

A B

C V.2.9

Fig.V.2.9: Key plan showing the views Fig.V.2.10: Perspective views

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V.2.10

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D V.2.12

C V.2.13

V.2.11

B V.2.14

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Fig.V.2.11: Key plan showing details Fig.V.2.12: Section D-D Fig.V.2.13: Section C-C Fig.V.2.14: Section B-B Fig.V.2.15: Section A-A

V.2.15

145

d2 I

d2 C

D V.2.16 V.2.11

C 146

Fig.V.2.16: Detail d1 Fig.V.2.17: Detail d2

d1 V.2.17

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V.2.18

A D B

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Fig.V.2.18: Key plan showing the views Fig.V.2.19: Perspective views

V.2.19

149

V.2.22

V.2.21 V.2.20

B V.2.23

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Fig.V.2.20: Key plan showing details Fig.V.2.21: Section D-D Fig.V.2.22: Section C-C Fig.V.2.23: Section B-B Fig.V.2.24: Section A-A

V.2.24

151

B V.2.20

d1 V.2.25

152

Fig.V.2.25: Detail d1 Fig.V.2.26: Detail d2

V.2.26

153

V.2.27

Intervention in the urban scale The Project Intervention inserted to the city as the continuation of the Portico series in The Ducal Palace and the city of Mantua.

PORTICVS MMXVIII 2. Giardino lombarde 5. Giardino dei semplici 7. Giardino pensile 9. Cortile della cavaLLerizza 11. Piazza castello 55. Piazza sordello

V.2.28

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Fig.V.2.27: Bertazzolo,Particolare della pianta di mantova (1628) with the new project inserted, Fig.V.2.28: Aerial site plan with the new project inserted

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PART VI : CONCLUSION

Entitled â&#x20AC;&#x153;Porticvs : 2018â&#x20AC;? , The project reconstructs and reinterprets portico as an architectonic model. The project was based on a carefull analysis of the element through different architectural eras and their representative architecs and projects. It was noted that this element has been used since the Roman and Greek times in small and big, public and private , religious and political , inside the city and inside a building and continues to be rediscovered and reinterpreted in the architecture of our time. The amazing history of Mantua and its Palazzo Ducale with the rich vocabulary of its architecture served as an inspiration and base for the goal of the project, to rediscover Porticoes as an important architectonic element. The fascinating evolution of the the city and the palace through its construction over time and architectural era arrived finally to this project, where it is carefully inserted inside its fabric. The project recalls the dialogue between a building and the city, the old and the new, the Antique and the Contemporary, brick and concrete, mass and void and public and private. Furthermore, the project also acts in the problem of the city and the Ducal Palace. We have noted how the transformation of the Palace in to museum excluded the exposition of the architecture. And with this project, the palace opens its architecture in to the public and makes a strong connection with the people of the city and everyday visitors. For this reason, we have made major adjustments of the museum route, the connection between buildings and buildings and open spaces. The Expulsion of the Bonacolsi (1494), a work of the Veronese painter Domenico Morone, was also a poetic representation of the Old and New architecture in Mantua. The painting reveals the conception of a new futuristic church, Il Duomo di Mantova, and a historic battle in the past at Piazza Sordello.

V.2.29

158

The painting was a representation of the battle that the Gonzagas, under the lead of Luigi Gonzaga rebelled against the Bonacolsi On August 16, 1328. the expulsion of happened during the medieval era however Domenico Morone represented this historical moment in 1494 which he represented the the scene with architecture of his time.

Fig.V.2.28: Overall Perspective view of the proposal project

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PART VII : BIBLIOGRAPHY

BIBLIOGRAPHY

Books and Articles

Algeri, G., (2003). Il Palazzo Ducale di Mantova. Sometti. Anderson, C., (2013). Renaissance architecture. Oxford University Press. Bruschi, A., (2006). Filippo Brunelleschi. Mondadori: Electa. Bruschi, A., (1977). Bramante. London: Thames & Hudson Ltd. Bourne, M., (2008). Francesco II Gonzaga: the soldier-prince as patron. Roma. Carpeggiani, P., (2005). Bernardino Facciotto. Progetti cinquecenteschi per Mantua e il The Ducal Palace. Milano: Guerini.

Grassi, G., (2004). Giorgio Grassi: opere e progetti. Milano:Electa. Hopkins, A., (2002). Italian Architecture from Michelangelo to Borromini. Thames and Hudson Ltd. Introini, M., Spinelli, L., (2018). Architecture in Mantua from the Palazzo Ducale to Burgo Paper Mill. Milano: Silvana Editoriale. Lâ&#x20AC;&#x2122;Occaso, S., (2009). The Ducal palace Mantua. Milano: Electa. Marder, T.,Wilson, M., (2015). The Pantheon: from antiquity to the present. Cambridge University Press. Marder, T., (1998). Gian Lorenzo Bernini. Rizzoli

Carpeggiani, P., (2002). l progetto del Palazzo Ducale. Milano: Skira.

Schinkel, K.F., (1982). Karl Friedrich Schinkel: collected architectural designs. New York: St. Martin's press.

De montelos, J-M.P., (1994). Etienne-louis Boullee. Paris:Flammarion.

Tafuri, M., (1998). Giulio Romano. New York: Cambridge University Press.

Dulio, R., Lupano, M., (2015). Aldo Andreani: 1887 1971, visioni, costruzioni, immagini. Milano:Electa.

Vidler, A., (1994). Claude-Nicolas Ledoux. Milano: Electa.

Ferlenga, A., (2000). Aldo Rossi: tutte le opere. Milano: Electa. Furlotti, B., Rebecchini, G., (2008). The Art of Mantua: Power and Patronage in the Renaissance.Los Angeles.

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FIGURES

INDEX

Luca Fancelli, Domus Nova,1480–1484 Mantua………….………….............02 Fig I.1: Plan of Monuments, Mantua……………………….............................12 Fig.I.1.2: Photo of the painting “Caccia dei Bonacolsi”, originally painted by Domenico Morone in 1494………………………..............................................................14 Fig.I.1.3: Master Plan of the evolution of Mantua,……………............................16 Fig.I.1.4.1: Master Plan of the Streets of Mantua,…………………………….18 Fig.I.1.4.2: Street View from Piazza Martiri di Belfiore………………………19 Fig.I.1.4.3: Master Plan of the Urban Nodes of Mantua, ……………………..20 Fig.I.1.4.4: A view of St. Andrea Church, photo: Tavernor, R. (1998), On Alberti and the art of building……………………………………………………...21 Fig.I.1.4.5: Master Plan of the Openspaces of Mantua,………………………...22 Fig.I.1.4.6: Aerial View of Piazza Castello………………………………….23 Fig.I.1.4.7: Master Plan of the Porticoes of Mantua…………………………...24 Fig.I.1.4.8: Aerial View of Piazza Sordello………………………………….25 Fig.I.1.4.9: A View of Piazza Piazza delle Erbe…………………………….25 Fig.I.1.4.10: A View of Pescherie building by Giulio Romano………………….25 Fig.I.2: Master Plan of the Ducal Palace…………………………………….26 Fig.I.3: Master Plan of the Evolution of the Ducal Palace………………….........27 Fig.I.2.3.1: Master Plan of Corridors and Galleries of the Ducal Palace…………30 Fig.I.2.3.2: Corte Vecchia, cortile d'onore………………………………..........31 Fig.I.2.3.3: The secret garden of Isabella d'Este……………………………….31 Fig.I.2.3.4: Master Plan of the Building Volumes of Ducal Palace……………....32 Fig.I.2.3.5: Porticoed Gallery by Antonio Maria Viani………………………..33 Fig.I.2.3.6: Porticoed Courtyard of Cortile dei Cani…………………….............33 Fig.I.2.3.7: Master Plan of the Openspaces of Ducal Palace……………………34 Fig.II.1: Model of the west side of the Athenian Agora, View from the southeast….38 Fig.II.2: Priene, the Agora, von Gerkan,Griechische Stiidteanlagen……………...38 Fig.II.3: The Athenian Agora, second century A.D…………………………...38 Fig.II.4: Reconstruction of the Acropolis by G. P. Stephens, 1941 ……………...38 Fig.II.5: Athens, Greece…………………………………………………....38 Fig.II.2: Illustration showing the Porticoes studied……………………………..40 Fig.II.2.1: Exterior Aerial view, Pantheon, Rome, A.D. 120-125……………..42 Fig.II.2.2: Plan, Pantheon (photo: Biblioteca Apostolica Vaticana)……………..42 Fig.II.2.3: Illustration showing structure, hierarchy, symmetry and balance………..42 Fig.II.2.4: Illustration showing relationships between plan and section……………42 Fig.II.2.2.1: Representation of the tournament in the Court of Belvedere………….44 Fig.II.2.2.2: Axonometric reconstruction of Cortile delBelvedere…………………44 Fig.II.2.2.3: A view of the portico, Hendrik van Cleve,1550…………………...44

163

Fig.II.2.2.4: Axonometric reconstruction of the Portico…………………….........44 Fig.II.2.2.5: Plan of the Cortille del belvedere………………………………....44 Fig.II.2.3.1: Carlo Fontana,"open" solution for a monumental approach to St Peter's, 1694 Detailed plan………………………………………….........................46 Fig.II.2.3.2: Giovanni Battista Piranesi, St. Peter's basilica and piazza, 1748…...46 Fig.II.2.3.3: View of St. Peter's colonnade…………………………………....46 Fig.II.2.3.4: Illustration of the porticoes 01...…………………………………46 Fig.II.2.3.5: Illustration of the porticoes 02…………………………………...46 Fig.II.2.4.1: Boullee, Interior Drawings 1785………………………………...48 Fig.II.2.4.2: Boullee,longitudinal section, second variation, pencil, ink, and wash, 1785…………………………………………………………………….48 Fig.II.2.4.3: Boullee, Interior Drawings 1785………………………………...48 Fig.II.2.5.1: Aerial view of Piazza SS. Annunziata …………………………50 Fig.II.2.5.2: Map showing the historical develepomnet of the Piazza SS. Annunziata………………………………………………………………50 Fig.II.2.5.3: Master plan, a Quarter of florence ………………………………50 Fig.II.2.5.4,5: front views of Piazza SS. Annunziata…………………………50 Fig.II.2.6.1: Karl Friedrich Schinkel, Perspective View of the Portico (from Schinkel's Sammlung architektonischer Entwiurfe, 1841-43)……………...52 Fig.II.2.6.2: Schinkel,Berlin, Altes Museum first design plan, 1824 (Staatliche Museen zu Berlin)………………………………………………………....52 Fig.II.2.6.3: Schinkel,Berlin, Altes Museum,first design elevation,1825 (Staatliche Museen zu Berlin)………………………………………………………....52 Fig.II.2.7.1: Aldo Rossi, Housing Unit, Gallaratese, Milan, 1970, elevation (Moschini, Aldo Rossi, tav. 3)……………………………………………....54 Fig.II.2.7.2: Project drawings, ETH Zu¨rich/ Professor Adam Caruso…………54 Fig.II.2.8.01,02,03,04,05: Giorgio Grassi, Casa dello studente, Chieti,Project Illustrations and Model 1976……………………………………………….56 Fig.II.2.9.1: North portico, Kimbell Art Museum, Fort Worth, Texas, 1966-1972. (Photo courtesy of Xavier de Jauréguiberry)……………………………………58 Fig.II.2.9.2: Sketch of acropolis, Athens, Greece, 1951.(Source: Private collection)...58 Fig.II.2.9.3: Floor plan, The Kimbell Art Museum Fort Worth, Texas, USA Louis I. Kahn 1967-72 (Thirty Museum Plans: Kirk Train)………………………...58 Fig.II.2.9.4: Model and site plan, AD Classics: Kimbell Art Museum / Louis Kahn…………………………………………………………………….58 Fig.II.2.9.5: Illustrations, Axonometric and section drawings (Ingrid Yin Liu on behance)……………………………………………………………….....58 fig.II.2.10.1: Le Corbusier, Assembly Building, Chandigarh, a view of the portico..60 fig.II.2.10.2: Le Corbusier, Assembly Building, Chandigarh, facade. (Le Corbusier's Architecture in India, Peter Serenyi)………………………………………...60 fig.II.2.10.3: Le Corbusier, Assembly Building, Chandigarh, Floor plan………..60 fig.II.2.10.4: Project illustrations…………………………………………...60

Fig II.2.11.1,3: Front Views, James Simon Galerie, David Chipperfield, 2007-2018, (Photo courtesy of David Chipperfield Architects)………………………………....62 Fig II.2.11.4: Floor plan, James Simon Galerie, David Chipperfield, 2007-2018, (Photo courtesy of David Chipperfield Architects)……………………………………….62 Fig II.2.12.1,2: ENPAS palace (later INPDAP), Bologna, 1956-1957. Photo by Paolo Monti…………………………………………………………………64 Fig II.2.12.3: ENPAS bologna, Illustrations…………………………………...64 Fig II.2.12.4: ENPAS bologna floor plan, Saverio Muratori architetto (1910-1973)..64 Fig.III.1.1: Master plan of Mantua, Porticoes highlighted………………………....68 Fig.III.1.1.1: A view of St. Andrea, archivio di Aldo Andreani…………………..70 Fig.III.1.1.2: A view from street, Photo by Paolo Monti………………………….70 Fig.III.1.1.3: Illustrations on Proportion and scale of elements……………………..70 Fig.III.1.1.4: St. Andrea, plan,Studio di restauro del prof.L.Toniato………………70 Fig.III.1.1.5: Plan of Sant Andrea.Borsi, F.(1977).Leon Battista Alberti:Harper and Row………………………………………………………………………..70 Fig.III.1.2.1: The Expulsion ofthe Bonacolsi (1494), a work of the Veronese painter Domenico Morone…………………………………………………………....72 Fig.III.1.2.2: General floor plan of Palazzo Ducale, L’Occaso 2009……………………………………………………………………......72 Fig.III.1.2.3: Plan and elevation illustration of Palazzo Del Capitano……………...72 Fig.III.1.3.1,2,3: Ponte Dei Mulini , Comune di Mantua Archives………………..74 Fig.III.1.3.4: Ponte di San Giorgio………………………………………….....74 Fig.III.1.3.5: Ponte di San Giorgio as seen in Andrea Mantegna's painting of Morte della Vergine, 1462……………………………………………………………….74 Fig.III.1.4.1,2: Plan and elevation, Aldo Andreani, palazzo della Camera di Commercio con la Loggia dei Mercanti, Mantua, 1910 – 1914(Camera di Commercio Mantova)...76 Fig.III.1.4.3: Illustration of plan…………………………………………….....76 Fig.III.1.4.4: Detail of portico elevation, (Camera di Commercio Mantova)………….76 Fig.III.1.5.1: Plan of the eastern loggia of the Fish Maret (Survey by T. Carunchio)….78 Fig.III.1.5.2: F.L.Montini, L.Puzzi, the New facade of the meatmarkets on the Ponte di S.Silvestro 1829……………………………………………………………...78 (Mantua, Fondazione D'Arco)………………………………………………...78 Fig.III.1.5.3: A view of Fish Markets and Meat Markets………………………..78 Fig.III.1.6.1: Front view of COOPERATIVA D’ABITAZIONE, (Courtsey of Andrea Pirisi)……………………………………………………………….80 Fig.III.1.6.2: Front view (Courtsey of Neue Regel Archive )………………………80 Fig.III.1.6.3: Floor plan, …………………………………………………….80 Fig.III.1.7.1: A view of the House of the Merchant from Piazza delle Erbe (Courtsey of Marco Introini)……………………………………………………………....82 Fig.III.1.7.2: A view of the House of the Merchant from Piazza Andrea Mantegna (Photo: Marco Introini)……………………………………………………….84 Fig.III.1.8.1: A view of Palazzo della Ragione from Piazza delle Erbe…………….84 Fig.III.1.8.2: Palazzo Te,a view from the "Loggia d'onore”……………………….84

Fig.III.1.8.3: Teatro Sociale, F.L. Montini……………………………………..84 Fig.III.1.8.4: A view of Piazza delle Erbe,F.L. Montini…………………………84 Fig.III.2.1: Master plan of the Ducal Palace, Porticoes highlighted……………….....86 Fig.III.2.1.1: Aerial view of Piazza Castello……………………………………88 Fig.III.2.1.2: Master plan of the Ducal Palace, Piazza Castello highlighted………....88 Fig.III.2.1.3: Illustration of Piazza Castello's relationship with the nearby building….88 Fig.III.2.1.4,5: A view of Piazza Castello……………………………………...88 Fig.III.2.2.1: Aerial view of Cortile della Cavallerizza…………………………...90 Fig.III.2.2.2: Master plan of the Ducal Palace, Cortile della Cavallerizza highlighted..90 Fig.III.2.2.3: Illustration of Cortile della Cavallerizza relationship with the nearb building……………………………………………………………………..90 Fig.III.2.2.4,5: A view of Cortile della Cavallerizza……………………………..90 Fig.III.2.3.1: Aerial view of Giardino Pensile…………………………………....92 Fig.III.2.3.2: Master plan of the Ducal Palace, Giardino Pensile highlighted………...92 Fig.III.2.3.3: Illustration of Giardino Pensile relationship with the nearby building…...92 Fig.III.2.3.4,5: A view of Giardino Pensile……………………………………..92 Fig.III.2.3.1: Aerial view of Castle of San Giorgio…………………………….....94 Fig.III.2.3.2: Floor plan and section of Castle of San Giorgio with portico highlighted..94 Fig.III.2.3.2: Master plan of the Ducal Palace, Giardino Pensile highlighted………...94 Fig.III.2.3.3: Illustration of Giardino Pensile relationship with the nearby building…...94 Fig.III.2.3.4,5: A view of Castle of San Giorgio………………………………....94 Fig.III.2.4.1,2: Aerial view of Giardino dei Semplici……………………………..96 Fig.III.2.4.3: Master plan of the Ducal Palace, Giardino dei Semplici highlighted……96 Fig.III.2.4.4: Illustration of Giardino dei Semplici relationship with the nearby building……………………………………………………………………..96 Fig.III.2.4.5: A view of Giardino dei Semplici…………………………………..96 Fig.III.2.5.1: Giardino dei Semplici, 1603 (Mantua, Biblioteca Comunale)………....98 Fig.III.2.5.2: Bertazzolo, Particolare della pianta di mantova (1628)……………....98 Fig.III.3.1: Villa d'Este, Tivoli. Plan. (Plate 140) Architectural Gardens of Italy: A series of photogravure plates from photographs made for and selected by A. Holland Forbes…………. …………………………………………………………100 Fig.III.3.2: Villa Madama,Rome, reconstruction of plan (drawn by D. Van Z…….100 Fig.III.3.3: Villa Giulia , Michelangelo Buonarroti (1475-1564)………………..100 Fig.III.3.3: Villa Medici, H. Inigo Triggs……………………………………..100 Fig.III.3.3.1: Site plan, with the four facades of the garden……………………….102 Fig.III.3.3.2: Elevation of Domus Nova and the Apartment of Metamorphoses……102 Fig.III.3.3.3: Site plan, with the four facades of the garden……………………….104

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FIGURES INDEX Fig.III.3.3.4: Elevation of the portico by Antonio Maria Viani and the border wall …………………………………………………………………………104 Fig.IV.1.1: The old and the new route map of the museum……………………..110 Fig.IV.1.2.1: A sketch of possible connections to be created by the Apartment of Metamorphoses…………………………………………………………....112 Fig.IV.1.3.1: Master plan showing the possible connections of semi-public spaces….114 Fig.IV.2.1: Site plan and Elevation showing the possible Proposal of the two Porticoes…………………………………………………………………116 Fig.IV.2.2.1: Bertazzolo,Particolare della pianta di mantova (1628) with the project area highlited……………………………………………………………..118 Fig.IV.2.2.2,3: Plan and Axonometry showing the new intervention……………119 Fig.IV.3.1: Plan and elevation Illustration showing the Geometric proportion, scale and structure of the buildings in the project area…………………………………...120 Fig.IV.3.2: Scale Illustration with the Elevation of the four main buildings in the project area……………………………………………………………………...121 Fig.IV.3.2.1: Study of Materials…………………………………………...122 Fig.IV.3.3.1: Study of Design Approach……………………………………124 Fig.IV.3.3.2: Illustration showing the Stereotomic and tectonic proposals of the new porticoes………………………………………………………………….125 Fig.V.I.1: General floor plan of the Ducal palace……………………………..128 Fig.V.I.2: Longitudinal section surveyed drawings……………………………..128 Fig.V.I.3: Transversal section surveyed drawings……………………………....130 Fig.V.I.4: Analysis of material and Decay of Buildings………………………..131 Fig.V.2.1: Master plan …………………………………………………...132 Fig.V.2.2: General floor plan………………………………………………133 Fig.V.2.3: Perspective view of the intervention from Domus Nova……………….134 Fig.V.2.4: Exploded Axonometric view of the intervention……………………..136 Fig.V.2.5: Site plan………………………………………………………138 Fig.V.2.6: Sectioned Elevation A………………………………………..140 Fig.V.2.7: Ground floor plan……………………………………………140

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Fig.V.2.8: Sectioned Elevation B…………………………………….…..140 Fig.V.2.6: Sectioned Elevation C…………………………………….…..141 Fig.V.2.7: First floor plan………………………………………………..141 Fig.V.2.8: Sectioned Elevation D………………………………………..141 Fig.V.2.9: Key plan showing the views…………………………………..142 Fig.V.2.10: Perspective views……………………………………………143 Fig.V.2.11: Key plan showing details………………………………..144,146 Fig.V.2.12: Section D-D ……………………....………………………....145 Fig.V.2.13: Section C-C ……………………....…………………………145 Fig.V.2.14: Section B-B ……………………....…………………………145 Fig.V.2.15: Section A-A……………………....………………………….145 Fig.V.2.16: Detail d1…………………………………………………….147 Fig.V.2.17: Detail d2…………………………………………………….147 Fig.V.2.18: Key plan showing the views…………………………………148 Fig.V.2.19: Perspective views……………………………………………149 Fig.V.2.20: Key plan showing details………………………………..150,152 Fig.V.2.21: Section D-D…………………………………………………151 Fig.V.2.22: Section C-C…………………………….……………………151 Fig.V.2.23: Section B-B…………………………….……………………151 Fig.V.2.24: Section A-A………………………….…….........……………151 Fig.V.2.25: Detail d1…………………………………………………….153 Fig.V.2.26: Detail d2…………………………………………………….153 Fig.V.2.27: Bertazzolo,Particolare della pianta di mantova (1628) with the new project inserted……………………………………………………..154 Fig.V.2.28: Aerial site plan with the new project inserted………………..155 Fig.V.2.29: Overall Perspective view of the proposal project……………158

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