Roman revival: in Frascati, to the south of Rome, the seventeenth-century stables of a famous villa have been converted with great sensitivity into an archaeological museum.

The Villa Aldobrandini and its spectacular water gardens at Frascati were constructed in 1601-11, during the Counter Reformation, by Carlo Maderno, architect of St Peter's facade, and Giovanni Fontana. The villa, built as a summer residence for Cardinal Pietro Aldobrandini, 'nephew' of Pope Clement VIII, dominates the town, and faces across the countryside to St Peter's dome.

Theatrically set against steep forest on the edge of the town, the villa is the centrepiece of an Arcadian vision of nature. The gardens, with a semi-circular water-theatre and nymphaeum are fed by an axial sequence of waterfalls, and are one of the best and most famous examples of early Italian Baroque landscape.

The villa is still privately owned, but the suite of seventeenth-century stable buildings next to the town square now belongs to the city. It has been transformed with great sensitivity, by Massimiliano Fuksas, into the Museo Tuscolano. The museum houses archaeological fragments of the Roman city of Tuscolo, remains of which are scattered over the Alban hills; but it also accommodates an exhibition hall and auditorium. In converting the buildings, Fuksas has impinged very lightly on the old structures, leaving the architecture to speak for itself; but his poetic response to it, and to the superb setting, is very evident, as is his talent for enhancing inherent architectural drama.

The site had two magnificent rectangular halls set end to end, in need of repair and restoration. Once this was done, and the buildings cleared of unnecessary accretions, the architect was left with an enormous double-height volume, requiring a new first floor, and a smaller vaulted one with a chamber above. As an organizing device, a new service core and lift shaft were inserted into the inner end of the main hall, forming a central cross-axis and establishing the museum's two separate sections.

New insertions have been made distinct from the old structure and the marks of previous occupation and wear and tear have been left as archaeological traces. Except for the occasional plane of coloured plaster and new glazing, the buildings have not been smoothed down; rather, in keeping with the nature of the exhibits, the textures of materials -- rough stone, brick, flaking plaster and concrete -- have been treasured.

In the main gallery a large window, framing a view of the town hall square, replaced the original main entrance; and a new entrance was created in an adjoining lodge. Within the gallery, RSJ columns and beams support a new first floor of concrete and steel. Floating short of the old perimeter walls, it accommodates an aerial flight of steel and wood stairs from ground level. Another parallel flight beneath takes you to offices on an intermediate level over the entrance. The immateriality of the inserted structures is induced by height and length, and by being counterpoised against the massive masonry wall, its thickness displayed in the deep reveals of small square windows set high above the ground.

Displayed on slender bronze stands designed by Massimo Mazzone, and illuminated by tiny spots of suspended light, the exhibits have been rendered equally ethereal. Arranged in a long procession, they are enclosed by transparent sheets of toughened laminated glass, 2.60m high and set straight into the polished concrete floor. This crystalline case forms a central spine down the length of the ground floor and is visible from the square outside. As an example of exhibition design, it is irresistible.

Upstairs, is the cultural centre with the well-equipped auditorium contained in the chamber over the vaulted gallery. The larger hall under high roof timbers is used for exhibitions and other cultural events. Through windows there are wide views over the Roman countryside and of the Villa Aldobrandini.

RELTED ARTICLE

Architect

Massimlilano Fuksas Architetto, Rome with Doriana O. Mandrelli

Project team

Massimiliano Fuksas, Doriana O. Mandrelli, Lorenzo Accapezzaco

Artist

Massimo Mazzone

Photographs

Glovanna Piemonti

1

Main west face. Original entrance (right) Is now a window onto town hail square; new entrance (left) in adjacent building.

2

East vaulted gallery on ground floor.

3

Main gallery with new first floor and staircases.

4

Exhibition hall on upper level; new floor, with glass balustrading, floats free of old structure.

5

Main gallery; north wall and new staircases. Archaeological exhibits in glass case on slender bronze stands.

6

Upper chamber over entrance and glass bridge to exhibition hall. New windows over town hall square.