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This is a study set in Padua, a city in Northeast Italy. For four hundred years, Padua was part of the Serenissima Republic of Venice, until the end of 18th century. The subject addressed implies the reminder of the very crucial period when Padua on the one hand was reached by the ideas of Enlightenment, on the other was briefly occupied by Napoleon’s Army, which closed many churches, monasteries and convents. Wide parts of the urban tissue became abandoned, without users and functions. In particular, the place here considered is a large area of open space in the southern part of the city called Prato della Valle (Figures 1, 2). A general method for initial verification of the potential offered by the planning project was applied to this specific place for finding out how to tackle a theme of great delicacy in the specific case of Prato della Valle. Premising all that follows is the conviction that the building currently in place on the southern side of Prato della Valle is largely inappropriate compared to the quality of the synthesis built here in the Age of Enlightenment at the end of the 18th century. So a method based on principles of potential interchangeability of context and the monument was applied to this particular Abstract. Research The boundary wall of the Santa Maria della Misericordia convent continuously delimited the southern limit of the Prato della Valle space in the southern part of Padua’s historical centre. Its presence was one of the elements that more than two century ago inspired the enlightened proposal by Andrea Memmo, the Superintendent of the Republic of Venice, and Domenico Cerato, a design professor at the University of Padua. Subsequently the straight and continuous limit was replaced by the discontinuous architecture of the Foro Boario entrance, built in 1913 according to a design by Alessandro Peretti; this weakened the overall solution based on an elliptical shape and the communicative power of the nearby basilica of Santa Giustina. The examination here presented dwells on these limits, simulating the virtual introduction of architectures with a continuous front to the southern edge of the Prato della Valle. One example is the Nelson-Atkins Museum of Art built in Kansas City between 1930 and 1933, based on a design by the brothers Thomas and William Wight, and expanded in 1999 by Steven Hall. The study generally confirmed that the compactness of the building’s front newly provides strength to the late 18th century Memmo’s creative intuition, which gave a sense of unity to the general emptiness thanks to the certainty of its borders, and gives again the Basilica of Santa Giustina its monumental size. This paper investigates the composition of heterogeneous fragments, excerpts from the inventory of collective memory, and the resulting unpredictable architecture in an urban context.

Study for a new definition of the southern side of Prato della Valle in Padua, Italy