架构师提供的文本描述。我们今天所知道的帕姆菲利宫是至少五个ff建造阶段跨越四个世纪的结果。经过一个连续的集聚过程，这座巨大的综合体最终变成了一个统一的城市街区。从1505年到1507年，沿着拉塔(Via Lata)-现在通过德尔·科索(Del Corso)-的工地上修建的建筑，始于红衣主教Fazio Santorio‘s Tribune，这是整个建筑群的第一个核心。门廊，他的第二阶后来成为画廊，密切记得布拉曼特的设计，宫殿里里奥。因此，许多作者错误地将其归因于后者。

Text description provided by the architects. Palazzo Doria Pamphilj as we know it today is the result of at least five different construction phases spanning four centuries. Through a process of successive agglomeration, the monumental complex finally became a unitarian urban block. The construction on the site along Via Lata - now Via del Corso - started with Cardinal Fazio Santorio’s tribune, which forms the first nucleus of the entire complex, built around the bramatesque courtyard from 1505 to 1507. The porch, whose second order later became the Gallery, remembers closely Bramante’s design for Palazzo Riario. For this reason, it was wrongly attributed to the latter by many authors.

 Palazzo Doria Pamphilj, Worm’s Eye Axonometric

Palazzo Doria PamPhilj，蠕虫眼轴测定仪

 © Giorgio De Vecchi - Gerda Studio

Giorgio de Vecchi-Gerda Studio

这座宫殿在整个十六世纪由德拉·罗维家族所有，1601年卖给了枢机主教皮埃特罗·奥尔多布兰尼，后者监督了持续到1647年的第二个建造阶段。他委托向罗马学院扩建宫殿，并建造了由Pietro Moraldi设计的环绕“Giardino dei Melangoli”的两翼。这些干预本身并不特别，为Antonio del Grande、Valvassori、Ameli和最后Andrea Busiri Vici随后的扩张和修改提供了基础。

The Palazzo, owned by the Della Rovere family throughout the XVI century, was then sold to Cardinal Pietro Aldobrandini in 1601 who supervised the second construction phase which lasted until 1647. He commissioned the expansion of the Palazzo towards the Collegio Romano and built the two wings enclosing the “Giardino dei Melangoli”, designed by Pietro Moraldi. These interventions, not extraordinary in themselves, provided the base for the subsequent expansions and modifications by Antonio del Grande, Valvassori, Ameli and finally Andrea Busiri Vici.

 © Giorgio De Vecchi - Gerda Studio

Giorgio de Vecchi-Gerda Studio

1644年，吉奥万·巴蒂斯塔·帕姆菲利(Giovan Battista PamPhilj)，他的家族与奥多布兰尼(Aldoobilliini)有联系，后来成为了教皇由迭戈·瓦拉斯奎兹(Diego Velázquez)创作的著名肖像画“无罪”(Innove)至今仍在画廊里，他赋予安东尼奥·德尔格兰德(Antonio Del Grande)以任务，将各种不同的这是通过在罗马大学广场插入一个具有纪念意义的前厅来实现的，该前厅通过一个巨大的楼梯将桑托里奥庭院与新建的公寓连接起来。

In 1644 Giovan Battista Pamphilj, whose family was linked to the Aldobrandini, became Pope Innocent X, bringing great fortune to the house. Innocent, whose famous portrait by Diego Velázquez still sits in the Gallery, gave Antonio del Grande the task of transforming what was the result of heterogenous additions into an organic and rational structure. This was achieved through the insertion of a monumental vestibule on Piazza del Collegio Romano, which links the Santorio courtyard to the newly built apartments through a monumental staircase.

 © Giorgio De Vecchi - Gerda Studio

Giorgio de Vecchi-Gerda Studio

 Section of A. Busiri Vici’s Staircase Leading to the Apartment

通往公寓的A.Busiri Vici楼梯部分

 © Giorgio De Vecchi - Gerda Studio

Giorgio de Vecchi-Gerda Studio

到那时，这座宫殿已经有了一个显眼的规模，并准备好摆满了最重要的巴洛克罗马艺术收藏品之一。安德里亚·布西里·维西(Andrea Busiri Vici)，整个十九世纪的建筑主管，是最后一次增建的作者，该建筑的机翼沿着德拉加塔(Della Gatta)，位于干预之处。然后，城市街区以同样的态度完成，指导着在他面前的建筑师们：给一个从来没有总体规划的建筑群提供一个有机而有限的形式。

The Palazzo had by then acquired a conspicuous scale and was ready to be filled with one of the most important art collections of baroque Rome. Andrea Busiri Vici, supervisor of the building throughout the XIX century was the author of the last addition, the wing of the building along Via della Gatta, where is located the intervention. The urban block was then completed with the same attitude that had guided the architects who came before him: giving an organic and finite form to a complex that never had an overall plan.

 © Giorgio De Vecchi - Gerda Studio

Giorgio de Vecchi-Gerda Studio

帕姆菲利宫的西翼建于十八世纪至十九世纪之间，用于出租公寓，至今仍是其主要功能。该项目的目的是建立一个明确和有意义的空间序列之间的宏伟公共空间的宫殿-如宽敞的楼梯通向公寓-和它的内部。这是通过创建一个拱形空间来实现的，它欢迎客人，同时提供软的diff使用的照明。

The western wing of Palazzo Doria Pamphilj was built between XVIII and XIX century to house rental apartments, and this is still today its main function. The project aims to establish an articulated and meaningful spacial sequence between the monumental common spaces of the Palazzo – such as the spacious staircase leading to the apartment – and its interior. This is achieved through the creation of a vaulted space, which welcomes the guests and at the same time provides a soft diffused lighting.

 © Giorgio De Vecchi - Gerda Studio

Giorgio de Vecchi-Gerda Studio

巴洛克式的宫殿与项目之间的关系仅仅是空间上的，因为干预是相当沉默的，没有任何风格或琐碎的内涵。由抽象的白色表面和软的diff使用的照明组合而产生的悬置设置为客户收集对象和绘画提供了一个静默的背景。该空间是通过使用镜子进一步联系起来的，这是重新fl的拱顶和改变对砌体承重墙的看法。这就引入了一种张力，在有规律和明确的安排周围的房间光轴。

The relationship between the baroque articulation of the palazzo and the project is merely spatial since the intervention is quite silent and stripped bare of any stylistic or trivial connotations. The suspended setting resulting from the combination of abstract white surfaces and a soft diffused lighting provides a silent background for the mise-en-scène of the client’s collection of objects and paintings. The space is further articulated through the use of mirrors which reflect the vaults and alter the perception of the masonry load-bearing walls. This introduces a tension within the regular and defined arrangement of the rooms around a light shaft.

 Model of the Interior Volumes

内部体积模型

Architects SUPERVOID

Location Rome, Metropolitan City of Rome, Italy

Architects in Charge Benjamin Gallegos Gabilondo, Marco Provinciali

Area 190.0 m2

Project Year 2017

Photographs Giorgio De Vecchi - Gerda Studio

Category Apartment Interiors

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