Working Group
Temporary association of professionals:
Prof. Arch. Giuseppe Cristinelli (lead coordinator), Arch. Emma Calebich, Arch. Giordano-Bruno Cristinelli, Arch. Dario Giuseppe Maso, Eng. Roberto Ocera (associates).
Description and Historical Background
Starting from a cluster of modest houses, whose presence on site at the end of the 15th century is documented in the 1500 bird’s-eye view attributed to Jacopo de Barbari, the Priuli family commissioned a new building in 1520. On this pre-existing structure, Andrea Tiralli designed and constructed the current palazzo for the Venier family between 1734 and 1737, which was later acquired by Girolamo Manfrin in 1787.
This was thus a renovation project, which has long attracted the attention of architectural historians and critics. The main façade, fully clad in large slabs of Istrian stone, features unusual stylistic elements that either anticipate or echo a new compositional rationality for the city. The windows, with their intentionally uniform rhythm, seem to obscure the complexity of the interiors, of which the grand staircase offers only a partial glimpse. On the rear façade, remnants of the original Ca’ Priuli can still be identified.
In this architecture, Tiralli appears to anticipate — with a certain unease — a deliberate reduction in decorative elements, a restraint that goes beyond Neoclassical taste and leans instead towards a stark compositional system, often seen as a precursor to modern rationalism. The floor plan itself seems to contradict the façade, defying the usual Venetian layout of a central hall flanked by side rooms. Instead, it adopts a quadrilateral layout surrounding an internal courtyard, with a grand double-height music hall at the center of the south-facing side overlooking the Cannaregio Canal.
Next to the music hall is the main staircase, which serves three large rooms on both the north and south sides of the building across the first, second, and third floors. These connect westward with three rooms from the original Ca’ Priuli and two larger spaces in the southwest corner.
To ensure privacy in the northern rooms, a hallway overlooking the courtyard connects them, accessible from the staircase. The absence of such a hallway on the other three sides makes those rooms “pass-through,” but allows for dual exposure both to the north and south.
The ground floor mirrors the upper floors’ layout, though with variations in floor levels due to differing street elevations from previous buildings. On the north side are entrances leading to the service staircase (reaching the third floor), to the rear open courtyard, and to the garden.
Only the north side features a mezzanine between the ground and first floors. The fourth floor exists solely along the southern side, followed by an attic with sufficient height for partial use in support of the building’s future functions.
Several spaces have been inappropriately subdivided with partitions. The building also contains other vertical connections that do not reach all five above-ground levels.
The structure and finishing elements are consistent with typical Venetian palaces. Walls rise from the foundation with a thickness of 40–60 cm, tapering to 30 cm on upper floors.
Flooring consists of terrazzo with lime binder and crushed terracotta aggregate, usually grey with white and black stone inlays.
Walls are mostly covered with whitewash, behind which frescoed or dry-painted surfaces are often found.
Ceilings are reed mats supporting plaster layers, usually frescoed in the main rooms.
Dimensional Data
The building covers approximately 2,000 m² and spans four floors plus a mezzanine.
Heritage Constraints
Subject to monumental protection under Legislative Decree 42/2004.
Services Provided
Survey, analysis of design alternatives, development of drawings and reports, cost estimation.
The Project
The palazzo is intended to host cultural activities related to visual arts and sculpture, as well as exhibitions of contemporary art. The aim is to create a space that, while showcasing the artist’s work, constantly transforms, becoming itself an evolving piece in dialogue with the historical monument of the palazzo — which remains unchanged, serving as a steady point of reference in the interaction between modernity and the past.
The restoration and reuse project is guided by an evaluation of how the intended functions can coexist with the architectural identity of the building — particularly its spatial distribution — assuming careful conservation and restoration of all formal and material elements of the monument.
Specifically, the work includes the demolition of all inappropriate partitions introduced over the last fifty years that conflict with the building’s original spatial logic.
Vertical connections are preserved in their original location and configuration, except for a small 20th-century staircase in the northern wing, which will be removed to install an elevator accessible to all visitors, including those with disabilities.
Internal walls delineating large rooms will be preserved; only two per floor will have door openings enlarged to accommodate large artworks in the noble floors.
The most significant structural interventions involve anchoring the main façade to the adjacent floor slabs and strengthening the load-bearing capacity of the first and second floors.
The façades require conservative restoration to eliminate degradation, mainly caused by oxidation and black crusts. The work will focus on cleaning surfaces, integrating missing parts, and preserving the natural patina of time.
Frescoed surfaces will undergo specialized restoration, and finishes will be preserved or renewed using traditional materials and techniques to match existing elements.
Although existing systems are poorly maintained, parts will be salvaged and upgraded to meet modern exhibition and museum standards.
Finally, to address high water (acqua alta), a concrete slab will be poured thick enough to withstand hydrostatic pressure equivalent to 190 cm above mean sea level. Consolidating and waterproofing injections will be used to protect masonry from rising damp, and sump pits with self-priming pumps will be installed at multiple locations.
Project Deliverables
Feasibility study including: written report, metric and photographic survey, spatial distribution diagrams, photogrammetric rectifications, access plan study, floor plans, elevations and sections, detailed drawings of vertical circulation and waterproofing systems, cost estimate.
Design Timeline
20 days.