{"id":733,"date":"2023-11-23T15:50:23","date_gmt":"2023-11-23T14:50:23","guid":{"rendered":"https:\/\/www.palazzobutera.it\/progetto-di-restauro\/"},"modified":"2024-10-03T15:41:50","modified_gmt":"2024-10-03T13:41:50","slug":"restoration-project","status":"publish","type":"page","link":"https:\/\/www.palazzobutera.it\/en\/restoration-project\/","title":{"rendered":"Restoration project"},"content":{"rendered":"\t<\/div>\t
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Francesca and Massimo Valsecchi<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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In 2015, Massimo and Francesca Valsecchi purchased Palazzo Butera and embarked on a massive, privately funded restoration of the building \u2013 an unprecedented financial undertaking unknown in Palermo.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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Marco Giammona<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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The principal engineer was Marco Giammona, who had extensive experience restoring historic buildings in Palermo\u2019s old town.\u00a0 It was he who had first taken the Valsecchis to see Palazzo Butera\u00a0 and who then coordinated the building\u2019s restoration and change of use.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\tThe architect<\/span>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t

Giovanni Cappelletti<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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Architect Giovanni Cappelletti led on the architectural plan and on museography.\u00a0 He had already collaborated with Massimo for Milan\u2019s Triennale in 2001 with an exhibition on Christopher Dresser.\u00a0 And again in 2004 for the \u2018Tesoro della Statale\u2019 exhibition held at the Rotonda della Besana, also in Milan.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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The aim of the Palermitan project was to transform the Palace from a residential building into a centre for culture and research. It had to be capable of housing the Valsecchis art collection and of providing space for research, study and the exchange of ideas. This meant thinking about living spaces, conference and exhibition spaces as well as space for a museum. <\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t
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Palazzo Butera today<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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Palazzo Butera, as we see it today, has a complex and articulated structural history. Located in the old Kalsa district of Palermo, the building\u2019s original layout dates back to the end of the seventeenth century, but its architectural configuration dates to the middle of the eighteenth century.<\/p>\n

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For two centuries, various generations of owners carried out different internal and external transformations and extensions, profoundly modifying its original structure. During the twentieth century, the building increasingly lost its purpose as a private residence, undergoing profound changes, especially on the second \u2018piano nobile\u2019.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\tPalazzo Butera<\/span>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t

The two main floors<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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The building is characterised by the rarity of having two \u2018piani nobili\u2019 with both being of equal historical importance and both having the same layout.<\/p>\n

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The first \u2018piano nobile\u2019 was the residence of the Prince of Butera, while the second was the residence of his eldest son and heir, the Prince of Pietraperzia.<\/p>\n

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On both floors, a vast gallery serves as a monumental entrance hall that then leads onto an impressive enfilade of frescoed halls of between six and seven meters high and that overlook the sea.<\/p>\n

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On the city-facing side of the building, there are smaller rooms with a height equal to about half that of the main halls. This constitutes the other peculiarity of the building \u2013 that there are three floors on the seaward side (including the ground floor) and five on the city side.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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The two courts<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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In addition, the building has two entrances, each leading onto its own courtyard.\u00a0 These are then connected internally by an archway.\u00a0 The first of these is the Palm Courtyard, coming off of which used to be the stables, coach house, tool sheds and archives\u2026. In other words, the working heart of the original residence.<\/p>\n

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The second courtyard, the Jacaranda Courtyard, was a formal reception space designed by Giacomo Amato to include four fountains and other decorative elements. \u00a0One of the fountains is still to be found directly opposite the main entrance.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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Space distribution<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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Giovanni Cappelletti\u2019s main purpose was to define how the various new functions demanded by the project would be distributed within the Palazzo, and how these would connect and flow with each other.<\/p>\n

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After a preliminary phase removing many of the buildings more recent excrescences and dealing with the structures\u2019 stability, the project then proceeded in a manner that was reactive rather than planned. During the building works, every unforeseen revelation became an opportunity for improvement and creative thinking.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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A constant and patient exercise of observation of the palace<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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Ultimately, the current layout of Palazzo Butera is born from constantly and patiently observing the palace and its original spatial and distributive character. \u00a0And it is also born from a desire to approach original materials with sensitivity, avoiding disproportionate or incongruous additions, unauthentic restorations, or general fakery. \u00a0But this has been balanced by grafting on a new architectural language that ensures the building is not stuck in the past and belongs to the present.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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A clear choice has been made in the rebirth of the building, to balance its conservation with the use of interventions that must necessarily speak the language of today. And there is a clear choice to avoid a slavish desire to reconstruct something from the past.<\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t
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The grocery and bistrot, MadoniEat, is a part of the building but can only be accessed from Via Butera.\u00a0 Specialising in food produced in the Madonie National Park close to Palermo,\u00a0 it has been set up by a team of people that includes the building firm that undertook the restoration of the Palace.<\/p>\n

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Designed over two floors, the ground floor hosts the grocery store, with dining available upstairs. The light-hearted and colourful furnishings, also designed by Giovanni Cappelletti, mirror the heavier geometric motifs of the glass and iron doors found throughout the Palace.<\/p>\n

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On the ground floor recycled maiolica terrace tiles have been used and yellow rubber has been used elsewhere.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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“Le Cattive\u201d caf\u00e9, the promenade and the sea front<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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Under the restored terraces is the Palace\u2019s cafeteria. It connects a public walkway called \u2018Passeggiata delle Cattive\u2019 with the Corte della Jacaranda, thereby allowing the possibility of connecting the seafront through the old city walls, to the city behind it.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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A series of three new double staircases, inserted within the confines of the pre-existing flowerbeds, deal with the height difference between the Cafeteria and the Walkway.\u00a0 To increase the attractiveness of the public space,\u00a0 Architect Cappelletti included planting scheme in his design. Palm trees, fragrant shrubs and coloured bougainvillea add natural shade and create a delightful place away from the noise and pollution of the traffic below.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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The Cafeteria is a series of interconnecting spaces under vaulted ceilings.\u00a0 The walls have been finished in a green marmorino. These rooms are reminiscent of train carriages, and Cappelletti took this inspiration to design the iron seating, and the iron-clad doorways mark the separation between the \u2018carriages\u2019. For the floor, Cappelletti again used the old tiles recycled from the terrace above that creates a runner down the length of the cafeteria, \u00a0and on either side of this is a polished Venetian Seminato floor.<\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t
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The guest rooms<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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All the spaces in the mezzanines and attic of the building have been transformed into guest quarters to host scholars, researchers and artists.\u00a0\u00a0 Each room is ensuite, and there is a communal eat-in kitchen that allows guests to share food and exchange their interests, ideas and knowledge.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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There is a complete account of the complexities of Palazzo Butera\u2019s restoration in Giovanni Cappelletti’s book “Palazzo Butera \u2013 Project and Construction Site” published by the Palazzo Butera Foundation in December 2023.<\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t
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\n\t\t\t\t\t\t\t\t\t\tBook<\/span>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t

Palazzo Butera: the book<\/h2>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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A QR code in the book gives access to a video describing all the phases of the restoration. This is a full visual description, specifically to accompany the book.\u00a0\u00a0There is also an edited version of these videos displayed throughout the Palazzo\u2019s exhibition spaces.<\/p>\n

In the book, Cappelletti describes the many choices made during his seven years on the construction site and he also underlines the crucial contribution made by so many others – structural engineers, plant engineers, restorers,\u00a0\u00a0artisans and builders. From the pages of the book there emerges a description of an orchestrated harmony that tells an almost autobiographical story of a unique professional and human experience.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t

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Restoration project<\/h2>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t
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Project Manager: Marco Giammona<\/p>\n

 <\/p>\n

Architectural and Museographic Design: Giovanni Cappelletti<\/p>\n

 <\/p>\n

Works Management: Giovanni Cappelletti; Marco Giammona; Tomaso Garigliano<\/p>\n

 <\/p>\n

Collaborators in the design and construction management:\u00a0\u00a0Dario De Benedictis with Salvatore Pagnotta, Alexia Messina, Amalia Randazzo and with Ruggero Rizzuto<\/p>\n

 <\/p>\n

Structural Design: Alessandra Giammona; Marco Giammona; Dino Spitalieri<\/p>\n

 <\/p>\n

Plant Design: Giuseppe di Natale (with Giampiero Urone)<\/p>\n

 <\/p>\n

Construction works carried out by ATI Gangi Impianti s.r.l.\/Emmecci s.r.l. (Santino Patti, Mario Puglisi, Santo Lipira)<\/p>\n

 <\/p>\n

Technical Manager: Santino Patti<\/p>\n

 <\/p>\n

Technical Director: Roberto Coralli<\/p>\n

 <\/p>\n

Site Manager: Gaetano Alaimo<\/p>\n

Restoration Manager: Vittoria Maniscalco (with Dalila Belato, Antonio Crisci, Lorena di Noto, Roberta Mirabella, Sara Riolo, Ausilia Sparacello, Ra Testa, Andrea Vasile, Manuela Virga, Giancarlo Zaffora)<\/p>\n

 <\/p>\n

Carpentry: Falegnameria Franco Doccula<\/p>\n

 <\/p>\n

Ironmongery: Chianetta Ferro s.r.l. (Gianni Chianetta, Roberto Dinolfo)<\/p>\n

 <\/p>\n

Iron gates and doors: Carmelo Nasello (Metal serramenti)<\/p>\n

 <\/p>\n

Glass Supplier: Mario Buscetta<\/p>\n

 <\/p>\n

Lighting Fixtures Supplier: Artemide s.r.l. (Massimiliano Troja with Alessandro Di Trapani. Special<\/p>\n

 <\/p>\n

Lighting: Davide Farioli)<\/p>\n

 <\/p>\n

Plasterboard Countertops: Baiamonti<\/p>\n

 <\/p>\n

Guest House Furniture: Antonio Rizzuto (Escooh s.r.l.)<\/p>\n

 <\/p>\n

Display Cabinets, and furniture for study areas and offices: Salvatore Bottone Wooden Furniture<\/p>\n

 <\/p>\n

Cafeteria “Le Cattive”<\/em><\/p>\n

 <\/p>\n

Kitchen design and coordination: Diego Emanuele<\/p>\n

 <\/p>\n

Cafeteria Furniture: Luca Chinnici<\/p>\n

 <\/p>\n

Special Systems: Michele Saitta (SAGRIM s.r.l.)<\/p>\n

 <\/p>\n

Bottega “Madonieat”<\/p>\n

 <\/p>\n

Furniture: Doccula Carpentry<\/p>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n\t

","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":850,"parent":0,"menu_order":70,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-733","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nRestoration project - Palazzo Butera<\/title>\n<meta name=\"description\" content=\"Discover the restoration project of Palazzo Butera by the Valsecchi family, which transforms the noble residence into a center of contemporary culture and art.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.palazzobutera.it\/en\/restoration-project\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Restoration project - Palazzo Butera\" \/>\n<meta property=\"og:description\" content=\"Discover the restoration project of Palazzo Butera by the Valsecchi family, which transforms the noble residence into a center of contemporary culture and art.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.palazzobutera.it\/en\/restoration-project\/\" \/>\n<meta property=\"og:site_name\" content=\"Palazzo Butera\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/PalazzoButera\/\" \/>\n<meta property=\"article:modified_time\" content=\"2024-10-03T13:41:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/storage1394.cdn-immedia.net\/wp-content\/uploads\/2024\/07\/og-butera-red.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"1398\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.palazzobutera.it\\\/en\\\/restoration-project\\\/\",\"url\":\"https:\\\/\\\/www.palazzobutera.it\\\/en\\\/restoration-project\\\/\",\"name\":\"Restoration project - 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