Ferrara, Italy
Led by Maria Claudia Clemente and Francesco Isidori of Labics and Stefano Olivari have completed the renovation of the monumental complex of Palazzo dei Diamanti, a total 1,727-square-metre built area, as well as exterior areas, gardens, and exterior technical spaces, bringing a new life to its exhibition spaces, returning to the city of Ferrara an invaluable cultural heritage.
The architects conceived it as a museographic rewriting that enhances the configuration of the Renaissance palace itself, establishing a consequentiality and circularity between its rooms.
Palazzo dei Diamanti is seen as a wonderful palimpsest — the product of multiple interventions and adaptations throughout the ages, additions and parts that were never completed — which today emerges clearly thanks to a project that holds all spaces together while exhibiting nothing other than its ability to give the museum a clear structure it never had.
Designed by Biagio Rossetti, Palazzo dei Diamanti was built starting in 1493 and constitutes the ideal center of the so-called “Addizione Erculea,” an ambitious urban project conceived by Rossetti himself for Duke Ercole I d’Este that envisaged a doubling of the city of Ferrara.
A symbol of Renaissance architecture and one of the most famous Italian monuments in the world, the palace is so-called because it exhibits 8,500 pyramid-shaped ashlars on its two external facades, alluding to the Este emblem of the diamond.
The Municipality of Ferrara launched an international two-phase competition for the renovation of Palazzo dei Diamanti in Ferrara, concerning the entire ground floor traditionally dedicated to high-profile temporary exhibitions.
The first intervention involved the main pre-existing exhibition spaces: the Rossetti Wing and the Tisi Wing.
The rooms were equipped with high-tech surfaces, behind which all mechanical equipment is hidden.
In the Rossetti Wing, new Venetian terrazzo floors were installed.
New burnished brass portals were inserted in both wings to accentuate the spatial sequence of the Renaissance palace.
The second intervention involved the spaces formerly occupied by the Museum of the Risorgimento, which were completely renovated and designated for new functions to support the exhibition activities: coffee shop, bookstore, educational room, and multipurpose space.
In addition, the architects renovated the courtyards within this section of the complex and reimagined them as “open-air rooms,” integrating them into the museum’s itinerary and thus highlighting the distinctive features of a building that alternates solids and voids, indoor spaces and enclosed outdoor areas.
The third intervention focused on ensuring continuity in both indoor and outdoor paths.
Regarding the internal pathways, Labics reopened a significant connection that had been interrupted over time between the former Museum of the Risorgimento and the main courtyard.
Additionally, they improved access through the small loggia that faces the main courtyard, making it an essential part of the visitor’s route.
The most significant intervention is the creation in the garden of a connection between the two wings of the Palace through a wooden structure, essential and light, partially glazed, which extends into the garden, highlighting its main geometries.
The garden, conceived by Labics with landscape designer Stefano Olivari, recovers the layout of the ancient “brolo” (orchard) with its squares and rectangles and brings to light, in a contemporary key, the arrangement documented since the second half of the 18th century.
The project by Labics arises from the awareness that architecture is a living art form which utilitas is a fundamental aspect.
The interventions carried out for the Palazzo dei Diamanti constitute a cohesive set of actions aimed at both preserving the historic building, its spatiality, and its intrinsic quality, and adapting its spaces to the needs of a modern exhibition venue.
Project: Renovation, restoration, and refurbishment of Palazzo dei Diamanti
Architects: Labics
Landscape Architects: Stefano Olivari
Original Architect: Biagio Rossetti (16th century)
Photographers: Marco Cappelletti
