of zintek® and realised through an ancient technique, where listels are used to join the plates. In Murano a tradition from the past hasbeenadapted tomodernneeds, and this also happened to the covers of the greenhouse in the Royal Gardens of San Marco, established by Napoleon and now recognised as UNESCO World Heritage. The impeccable restoration was made possible by the accurate study of the place and its context, bringing back to life the elegance of a private salon for the city’s nobility, which once used to promenade and rest away from the worldliness of Piazza San Marco. In this instance, the zintek® covers give a sense of stability and resistance, while faithfully reproducing the original design of the lead covers. Tailored restoration proposals, rather than a standardized plan, seem to be the right path to introduce somethingnew inVenice. The futureof thisbeautiful andfragilecitywill have to be nurtured though a continuate dialogue and synergy between project managers, commissioners, the Superintendence for Cultural Assets, and construction firms. As Renata Codello summarises, Venice “responds in proportion to the care, attention, knowledge and respect that you dedicate her.” By lacking in any of these, Venice will react as a living organism which is being confronted by an external entity: it will decidedly try to expulse it. 3 4 3. In his project for the expansion of the Molino, approved in 1895, architect Ernst Wullekopf was inspired by the so-called Hanoverian School and used Gothic elements, such as pointed arches and aligned pilasters. 4. The neo-Gothic tower of Molino Stucky is now part of the presidential suite of the Hilton Hotel, located at the top of the main tower, 35 metres high. ARCHITYPES 14 EXCERPT
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