In the past centuries, the world has witnessed the never-ending constructions of Palazzo Doria Pamphilj. Lately, the Supervoid has been commissioned the renovation of the apartment in the Palazzo, where another design language will introduce you the unique life of the architecture.
▼公寓内景，interior view of the apartment
呈现在我们眼前的 Doria Pamphilj 宫殿横跨了四个世纪，历经至少五次建造或整修而终成如今的样貌。随着众多拆建过程的频繁展开，这座颇具历史意义的地区最终凝结成统一的街区形态。自1505年到1507年间，建造以Cardinal Fazio Santorio讲坛为起点，沿Lata街（如今改名为del Corso街），围绕bramatesque院落逐渐推进，形成场地的第一个核心区域。门廊的加建部分最终演变成画廊，以纪念由设计师Bramante主持建造的Riario宫殿。因此，很多人误以为该宫殿皆为Bramante所建。事实上，该宫殿在十六世纪时归Della Rovere家族所有。1601年，家族将宫殿转售给Cardinal Pietro Aldobrandini，此后直到1647年，在新主人的手中，它经历了第二次扩建。在新的改建工程中，Cardinal Pietro Aldobrandini委任设计师Pietro Moraldi将宫殿在朝向罗马学院的方向延伸出两个翼楼，并将Giardino dei Melangoli围合在内。这是两次非常具有历史意义的改造工程，为之后由Antonio del Grande，Valvassori，Ameli和Andrea Busiri Vici主持的改建和重修工程埋下了伏笔。
Palazzo Doria Pamphilj as we know it today is the result of at least five different construction phases spanning four centuries. Through a process of successive agglomeration the monumental complex finally became a unitarian urban block. The construction on the site along Via Lata – now Via del Corso – started with Cardinal Fazio Santorio’s tribune, which forms the first nucleus of the entire complex, built around the bramatesque courtyard from 1505 to 1507. The porch, whose second order later became the Gallery, remembers closely Bramante’s design for Palazzo Riario. For this reason it was wrongly attributed to the latter by many authors. The Palazzo, owned by the Della Rovere family throughout the XVI century, was then sold to Cardinal Pietro Aldobrandini in 1601 who supervised the second construction phase which lasted until 1647. He commissioned the expansion of the Palazzo towards the Collegio Romano and built the two wings enclosing the “Giardino dei Melangoli”, designed by Pietro Moraldi. These interventions, not extraordinary in themselves, provided the base for the subsequent expansions and modifications by Antonio del Grande, Valvassori, Ameli and finally Andrea Busiri Vici.
1644年，与Aldobrandini贵族颇具渊源的Giovan Battista Pamphilj出任教宗，让这栋建筑的地位变得极其崇高。而由Diego Velázquez绘制的这位教宗的肖像画，如今还摆放在这栋建筑的画廊里。如何将形式不一的附加建筑融合到有机又合理的建筑结构中，给紧随其后由设计师Antonio del Grande主持的改建工程以极大的挑战。设计师在Collegio Romano广场嵌入一个纪念性的前廊，并通过楼梯与新建的公寓部分相连通，完美的解决了这一难题。这次改造使该宫殿获得足够的空间尺度，为罗马巴洛克风格艺术品提供了绝佳的展陈空间。作为该建筑在十九世纪的所有者，Andrea Busiri Vici成为了最后一个附加建筑的主持人。这一次的翼楼加建工程沿Gatta街进行。随后，该街区延续了前人设计师的形式语言，赋予这个从未拥有整体规划的地块，一个有机的和无限的街区形式。
In 1644 Giovan Battista Pamphilj, whose family was linked to the Aldobrandini, became Pope Innocent X, bringing great fortune to the house. Innocent, whose famous portrait by Diego Velázquez still sits in the Gallery, gave Antonio del Grande the task of transforming what was the result of heterogenous additions into an organic and rational structure. This was achieved through the insertion of a monumental vestibule on Piazza del Collegio Romano, which links the Santorio courtyard to the newly built apartments through a monumental staircase. The Palazzo had by then acquired a conspicuous scale, and was ready to be filled with one of the most important art collections of baroque Rome. Andrea Busiri Vici, supervisor of the building throughout the XIX century was the author of the last addition, the wing of the building along Via della Gatta, where is located the intervention. The urban block was then completed with the same attitude that had guided the architects who came before him: giving an organic and nite form to a complex that never had an overall plan.
▼宫殿一层平面图，Palazzo Doria Pamphilj, Ground floor plan
▼宫殿二层平面图，Palazzo Doria Pamphilj, First floor plan
The western wing of Palazzo Doria Pamphilj was built between XVIII and XIX century to house rental apartments, and this is still today its main function. The project aims to establish an articulated and meaningful spacial sequence between the monumental common spaces of the Palazzo – such as the spacious staircase leading to the apartment – and its interior. This is achieved through the creation of a vaulted space, which welcomes the guests and at the same time provides a soft diffused lighting.
▼空间内拱元素的使用，the creation of a vaulted space
The relationship between the baroque articulation of the palazzo and the project is merely spatial, since the intervention is quite silent and stripped bare of any stylistic or trivial connotations. The suspended setting resulting from the combination of abstract white surfaces and a soft diffused lighting provides a silent background for the mise-en-scène of the client’s collection of objects and paintings. The space is further articulated through the use of mirrors which reflect the vaults and alter the perception of the masonry load bearing walls.
▼沉静的展示空间，the silent space for artworks
▼柔和的漫反射灯光，soft diffused lighting
Benjamin Gallegos Gabilondo, Marco Provinciali
Palazzo Doria Pamphilj Rome, Italy
Project Year 2017
Giorgio De Vecchi – Gerda Studio www.gerdastudio.com
Backlit ceiling Tensocielo www.tensocielo.com