設計は、ロンドン、ベルリン、ミラノ、上海に拠点を持ち、世界中でさまざまなプロジェクトを手掛けるデビッド・チッパーフィールド・アーキテクツ（David Chipperfield Architects）です。
（以下、David Chipperfield Architectsから提供されたプレスキットのテキストの抄訳）
サン・マルコ広場は、広場を構成する4面のうち3面を「Procuratie」と呼ばれる3棟の建築「旧行政館（Procuratie Vecchie）、新行政館（Procuratie Nuove）、ナポレオンウィング （Procuratie Nuovissime）」で構成されている。
以下、David Chipperfield Architectsのリリース（英文）です。
Saint Mark’s Square, besides being one of the world’s most recognisable squares, is an extraordinary and explicit demonstration of ordered public space defined on three of its four sides by the Procuratie Vecchie, the Procuratie Nuove and Procuratie Nuovissime.
The Procuratie Vecchie was developed along the entire North side of the square, in the first half of the Sixteenth Century, under the renovatio urbis programme of the Doge of the Republic of Venice, Andrea Gritti and involved three architects, Mauro Codussi, and Bartolomeo Bon and Jacopo Sansovino, establishing the modern ancient language adopted by the subsequent developments of the other Procuratie of the other Procuratie on the other West and South sides of the square.
Generali, which just began its life in the Procuratie Vecchie and which it has acquired almost entirely over the years, has set as its goal to bring the Procuratie Vecchie into a more engaged relationship with the city of Venice,through the activities of The Human Safety Net, Generali’s foundation situated on the third attic floor, a large part of the Procuratie Vecchie made accessible to the public for the first time in half century.
David Chipperfield Architects Milan developed an idea for project which is not defined by a single architectural gesture, but rather by a series of Interventions that address the complexity of the work through a flexible approach in order to interpret and make sense of both historical modifications and practical adaptations of the Procuratie Vecchie.
The Interventions include the Restoration of the first and second floors, where the most prestigious Offices of the Generali insurance company are situated, the Reorganisation of accessibility and usability through the inclusion of new vertical circulation, and the Renovation of the third floor, with public access to the exhibition spaces as well as workspaces, event spaces and an auditorium linked to The Human Safety Net.
The Interventions looked to ancient, local and traditional construction techniques and made use of artisanal craftsmanship for the flooring, walling and ceiling, using pastellone and terrazzo, marmorino and scialbatura, but also cocciopesto and cotto, seeking not to impose but rather to inherit, in order to complete into a single whole and reclaim the integrity of what has been present for hundreds of years in probably the most representative place in Venice.
Supplementary Project Text
Surveys and analyses on the different parts of the Procuratie Vecchie, together with the researches and studies of the different documentary sources made it possible to define the Interventions of Conservation as Interventions of Revelation as well as Interventions of Integration.
The Interventions of Revelation were planned (following stratigraphic analyses), on the walls, floors and ceilings, which made it possible to reveal parts of the ancient Flooring in Venetian Terrazzo (on the first floor), ancient ceilings and plasterworks but also some ancient traces of frescoes (on the second floor), to uncover and to expose transformations that took place over about 500 years of the brick walls (on the third floor).
The Interventions of Integration were planned for all floors, replacing elements that were damaged and which could not be preserved through integrant interventions making use of traditional and local techniques of craftsmanship. The internal walling was covered in Marmorino or was finished with Scialbatura to give readability and/or uniformity, while the Flooring was realized in Pastellone and Terrazzo (using the same aggregates in both cases) and the arches and portals were inserted and realized in Reconstituted Stone (mixing the powder and aggregates). The external walling (of the new central pavilion) was coated in Cocciopesto and the External Terraces (beside the new Central Pavilion) were covered in Recomposed Terracotta (using crushed tiles) with the ultimate intent of establishing a dialogue between Cocciopesto and Recomposed Terracotta, a dialogue rather than a contrast.
Terrazzo or Seminato
A Paving or type of Flooring for interiors that is typical of the Venetian and Triveneto area and is more commonly known as Venetian Terrazzo or Seminato Flooring (wrought in sow Venetian Style). Terrazzo or Seminato generally refers to a monolithic Flooring realized with many small fragments.
The Flooring contains small grit/granules of stone, marble, clay and glass held together by a cementitious binder of Lime, fine grit and fine clay (which is then pressed and polished). It is a type of Flooring that necessitates meticulous and expert work carried out by craftsmen (Terrazzieri) using the same techniques that have remained unchanged from the Sixteenth Century to this day.
The First Layer is the substrate composed of a mixture of materials comprising earthenware fragments and chippings (which are spread and smoothed); the Second Layer is composed of the same materials (which are pressed and leveled); the Third Layer contains pit lime (also enhanced with pigments); the Fourth Layer is composed of a special paste that is spread over the surface to hold together the Granules, and is necessary for Decorated Seminato but not for Simple Seminato. The gaps of the last Layer are grouted (with rollers and other tools) to form a smooth and compact surface (Smoothing) and this Layer is then first polished (with boiled linseed oil) and then polished again (with wax).
Pastellone or Sommassa
A Paving or type of Flooring for interiors of ancient origin, a forerunner of Venetian Terrazzo, that was already used in Roman times and which became particularly popular in the Sixteenth Century in Venice (as well as in the Nineteenth Century). Pastellone or Sommassa generally means a smooth Lime Flooring, similar to marble, and is particularly suitable for making a monobloc (monolithic and monochromatic) of walkable surfaces.
The Flooring is made of very simple materials and is a mixture of various aggregates including gravel, crushed bricks, scraps and Slaked Lime (which is then beaten and rolled until completely bedded down). It is a type of Flooring carried out by hand by craftsmen and results in a compact surface that is particularly durable (as well as smooth and shiny) and slaked since the Lime, a natural material mixed with pigments and powders, allows a wide range of colors to be obtained and is called Lime Flooring.
The First Layer is the Foundation and is composed of a mixture of Slaked Lime and a variety of large, recycled aggregates (which are leveled, beaten and compacted down), while the Second Layer, the Amalgam, is a mixture of neutral colour composed of powdered marble and Slaked Lime or Hydrated Lime (applied in several coats and smoothed with a trowel).
Cocciopesto or Coccio–pesto
It is a type of wall Cladding or a type of Flooring devised for the purpose of protecting against moisture or for decoration, which was already in use in Roman times (as a mixture of lime, sand, pozzolan and brick).
This Cladding or Flooring is made of a mixture of fragments of crushed bricks and tiles that is mixed as an aggregate with Aerial Lime. The Cocciopesto is laid in several compact Layers characterized by different grain sizes that are however homogeneous and which are beaten and moistened several times.
The Cocciopesto Cladding or Flooring cannot be considered a simple plaster because, if used in significant Layers, it has mechanical characteristics similar to a Conglomerate. It is composed by craftmen to obtain a very compact surface that is particularly solid.
The Cocciopesto Flooring has similarities with Seminato or Venetian Terrazzo with the difference that the material consists for the most part of fragments of crushed earthenware from recycled materials or waste. Artificial Pozzolans composed of baked clay (Incoherent Tuff) unlike Natural Pozzolans composed of volcanic tuff (Coherent Tuff), are held together by a mortar binder (without additives) composed of Slaked Lime or Hydrated Lime, cocciopesto, sand and water.
The First Layer is composed of a mix of materials (which is leveled and beaten); the Second Layer is composed of a sand-free mixture to obtain a flat surface (which is smoothed with trowel and then grouted, polished and waxed).
Project title: Venice, Piazza San Marco, Procuratie Vecchie
Project typology: Recovery Project
Project location: Piazza San Marco 107, Venice, Italy
Client: Generali Real Estate S.p.A., Milano, Italy
Competition: September 2016 – July 2017
Project: July 2017 – July 2019
Construction: May 2019 – February 2022
Opening: April 2022
Net area per level: Ground Floor Level 1.450 sqm
First Floor Level 2.400 sqm
Second Floor Level 2.700 sqm
Third Floor Level 2.175 sqm
Fourth Floor Level 890 sqm
Net total area: 9.615 sqm
Gross total area: 11.890 sqm
Client: Generali Real Estate S.p.A., Milano, Italy
User: Assicurazioni Generali, The Human Safety Net
Architect: David Chipperfield Architects Milan, Italy
Partners: David Chipperfield, Giuseppe Zampieri
Associate Director: Cristiano Billia
Associates: Adolfo Berardozzi, Andrea Cocco, Carlo Zucchia
Project team:Simone Diego Alessi, Federica Amoruso, Thomas Benk, Corrado Bongiorno, Cecilia Bottoni, Niccolò Brussa, Teresa Cancellari, Marta Capacciola, Francesca Carino, Filippo Carcano, Francesca Carino, Carlo Federico Cattò, Fabiano Cocozza, Maria Elena Codazzi, Paolo Dell‘Elce, Stefano Goffi, Tsukasa Goto, Samuel Lodetti, Eugenio Matteazzi, Tommaso Meena, Daniel Mira García, Sofia Nobis, Brigid O’Donnell, Stefano Penazzi, Matthijs Sioen, Tiziana Staffieri, Davide Tassera, Federico Turelli, Wouter Verstraete, Maria Chiara Virgili
Competition team: Cosmin Amato, Pietro Bagnoli, Corrado Bongiorno, Cecilia Bottoni, Filippo Carcano, Carlo Federico Cattò, Tommaso Certo, Fabiano Cocozza, Maria Elena Codazzi, Federica Corrà, Paolo Dell‘Elce, Tsukasa Goto, Nicola Guercilena, Seunggeun Jee, Chiara Lippi, Eugenio Matteazzi, Gabriele Pagani, Paolo Volpetti, Federica Zerbo In collaboration with
David Chipperfield Architects, Berlin: Thomas Benk, Anke Fritzsch, Christopher Jonas
Zero4Uno Ingegneria srl, Venice, Italy: Romeo Scarpa
Franco Gazzarri Architetto, Mestre, Italy
Quantity surveyor: GAD, Milan, Italy: Gianpiero Aresi, Luca Cedrelli, Francesco Minoia
Works management: TA Architettura, Mestre, Italy: Diego Boldo, Giulia Conti, Anna Lisa Girolami, Alberto Torsello
General contractor: SACAIM, Marghera (Venice), Italy
Project coordination: Artelia, Milan, Italy: Giorgio Alberti, Giuseppe Baudille, Matteo Lavazza, Marco Paolacci, Massimo Vedovato
Structural engineer: Arup, Milan, Italy: Federico Bormetti, Luca Buzzoni, Guglielmo Carra, Giammichele Melis
Services engineer: Arup, Milan, Italy: Paolo Bianchi, Paolo Cresci
Acoustic consultant: Manens Tifs, Verona, Italy: Marco Trame, Roberto Zecchin
Fire consultant: Studio Mistretta, Milan, Italy: Valentina Liggi, Silvestre Mistretta
Façade consultant: Arup, Milan, Italy: Konrad Runggaldier
Lighting consultant: Viabizzuno, Bentivoglio (Bologna), Italy: Giacomo Coppe, Francesco Finetti, Mario Nanni, Giulia Pulga
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