38
HERITAGE & HISTORIC BUILDINGS PROJECT REPORT
It was granted the legal status of ‘monument’ in 1987 – this restricted OMA to a finite number of structural changes
ing gridded ceilings seen in many historic buildings. The beams narrow at the edges (in section), so that the structure appears to float separate from the edge of the historic cornice. LED lights are positioned between two layers of glass that form the floor of the pavilion, and the ceiling of the court- yard, and help compensate for a lack of natural light in the courtyard on dark days when less light is able to penetrate the glass. “Visually we wanted to create something that looks like a pure insert, but it that had to adapt to the irregularities of a historic building, which required sophisticated computer modelling of the structure,” says Laparelli. Traditional materials were given a contemporary treatment in some areas. The courtyard floor incorporates blocks of Red Verona Marble and highly durable Istrian Stone, typical to many courtyards and covered passageways in Venice. However, they were laid out in a contemporary geom- etry of diagonal stripes, rather than the traditional chequerboard design.
The use of brass is common to Italian architecture, notably through the work of 20th Century architect Carlo Scarpa who completed several projects in Venice. At the Fondaco, the brass was oxidised to create surface tones of blue, orange or more tradi- tional gold.
“Brass is a common denominator in many parts of the project, in general we tried to tread the fine line of using well established materials in innovative new ways,” says Laparelli.
‘Brands in boxes’
City authorities required the existing sequence of rooms, along the gallery surrounding the courtyard, to be retained. The preservation laws were so unflinching that a wall built in 1930s at the same loca- tion as a wall from the 16th Century had to be treated as a historic wall. As a result, shops for different brands are all separated by internal walls, and accessed via a single entrance onto the gallery. There are no windows onto the gallery, forcing
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