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Home , Bernard Arnault, Guggenheim Museum Bilbao, Miuccia Prada, Rome Film Festival

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11 of certain architectural events within their development, business and personal plans. The three large groups of this segment, led by the Pinault family (), Miuccia and The definition of an urban (LVMH), have significant headquarters due to their position in the city and the historical values of that buildings1. El 40th of the Rue des and global icon. Sevres in Paris, from where Pinault runs his emporium, is a relevant example. It is a place very close to the Eiffel Tower, The Invalides and Public-private strategies the Luxembourg Gardens, in the District VII of Paris. The building, cataloged as a Historical Monument by the French administration, for the regeneration of the is the old Laennec Hospital, a very interesting piece built in the 17th century that is now used as a business headquarters. We can “Palazzo della study the personal and cultural project of its founder: the Pinault Foundation with branches in Venice, Palazzo Grassi and Punta della Civiltà Italiana, ” Dogana2. In 2019, this institution will inaugurate its new venue, the Paris Stock Exchange, also monument which has been rehabilitated Fernando Moral-Andrés according to Tadao Ando’s project after having reached an agree- ment with the municipal government of Anne Hidalgo3. The role that historically played certain institutions as effective The Prada Epicenter of Tokyo, by Herzog and De creators of the cultural city presents a new variant with the Meuron, New York, by OMA and the headquarters of its founda- configuration of important international business conglomerates. tion, also according to the project of the Dutch Rem Koolhaas, are These groups, capable of articulating different socio-economic remarkable data of this architecture-Prada connection. Its new structures, also produce an architectural reality linked to their Productive Headquarters, in Arezzo, developed by Canali associa- needs, from a strictly functional horizon or as representative ti, is a finalist of the Mies van der Rohe Awards 20194. LVMH, the iconic values. The case of the Palazzo de la Civiltà Italiana, largest global luxury conglomerate is no stranger to these actions. projected by Giovanni Guerrini, Ernesto Lapadula and Mario Its president, Bernard Arnault, commissioned the construction of Romano, and started in 1938, is revealing of this contemporary the headquarters of the Foundation to , business paradigm. It was conceived as the emblematic museum which was opened in 2014 in Paris. This building rises in the public of the failed Universal Exposition of Rome, 1942 and has been in a continuous process of programmatic redefinition since those forest of the Bois de Boulogne after having reached an agreement years that saw it stand up and that augured a destination for it with the different administrations involved in the management of as Museo della Civiltà. Different cultural approaches have been this site, after having overcome certain neighborhood opposition5. filling it but in no case with a relevant repercussion neither for Outside of different specialized sectors, these quality works do not its immediate environment nor for the effective construction achieve recognition by the general public as it happens with mythical of the public city. Currently, after the agreement reached in Guggenheim Museum . 2013 between the management company of the property and the , its exhibition spaces have been reduced THE INVOLVEMENT Private capital, from different sources has significantly, but it has a new program that has regenerated it as a OF COMPANIES IN been an agent capable of promoting CULTURAL POLICIES headquarters building program and as a global icon. cultural policies at different levels. Important private headquarters, with vocation for public service, have been formalized under the umbrella of the benefits achieved by certain entrepreneurs. This situation has led to a transfer of knowledge and human resources from the canonical museum institutions, cultural references of governments, to the corporate structures. Here are two examples to focus on: Richard Calvocoressi, former Director of the Scottish National Gallery of Modern Art, migrated as director and senior curator to the in London6. This situation has led to a transfer of knowledge and human resources from the canonical Suzzane Pagè, director of the of the Villa de Paris, has been the artistic director of the since 20067. The economic strength of these new centers makes possible the configuration of museum projects that use to replicate standard formulas that public institutions had built through extensive experience. These policies THE CONSTRUCTION The definition of the corporate architecture have been accompanied by arrangements of public-private OF THE BUILDING is a complex process and presents different collaboration, as exemplified by different sponsorships. At this point, REALITY OF THE CORPORATIONS headlines. Some of these are defined by stand out the 25 M euros contributed by Tod’s for the restoration of certain functional scales, others for the Colosseo8. These dynamics also generate different conflicts questions of company policy or historical during the execution of the works. The covering of monuments reality. In 2017, Foster + Partners carried out generates different conflicts such as the disappointment of those the project of the flagship store of the Apple company on Michigan who travel miles away just to see a hidden monument. This was Avenue in the city of Chicago. This small pavilion is covered by a evident during the restoration works of the , carbon fiber sheet that evokes the Macbook pro and while in the Roman Piazza di Spagna9. Later experiences with methacryla- transferring to urban scale those symbols of lightness and elegance te fences, for example, have improved this situation. The conserva- typical of such electronic equipment. tion of heritage, the exhibition programs have been significantly If we make a brief study of the above topics, among the promoted by this collaborative way. European magnates of the luxury sector, we can verify the relevance RA 21 255

THE NEW REALITY The fashion house FENDI was placed in the modern extensions of the capital20. Urban planning for EUR / 42 star- OF PALAZZO DELLA Largo Carlo Goldoni, 420, Rome, a ted in 1936 and would be led by Marcello Piacentini, one of the most CIVILTÀ ITALIANA bourgeois palace of the sixteenth century relevant architects of that moment and inside the history of the dis- that closes at one end the Via Condotti, a cipline in Italy21. It would be a true model of fascist city that connects world reference for this commercial sector. with the ancient city and also with the Mare Nostrum through Ostia22. This was the representative building of the It was menat to reflect the environmental and scenographic values ​​ brand in the city; today, inside, we could find a shop, of this new ideology. It would be located in the southern periphery, a hotel and one restaurant. The building has been with an area of about​​ 400 ha. This and new place was design to transformed into a complex of functional programs that could help have a pentagonal perimeter, organized by clearly defined axes, with eventual customers and that can be complementary to each other. relevant aquatic areas along with a large group of buildings23. This was possible after the transfer to a new headquarters of the Adalberto Libera, architect, must be pointed out: staff fom this place. In front of the main façade, Fendi commissioned the symbolic Arch would have been his24 and his is the built one, the artist Giuseppe Penone to carry out a work, Foglie di Pietra, Congress Hall25. This urban operation, over historical and ideological which now boasts the honor of being the first permanent, contempo- distances, could be read from a “patriotic colossalism” similar to the rary in the Roman public space that was given to the city, in Mall of Washington26. After Italian participation in World War II, the the year 2017 by Italian Company10. This item shows us a new way of project collapsed, as an ephemeris and as a new neighborhood. After culture, administration and business triangle. this dramatic crisis, only a few buildings had been erected and the urbanization was partially executed. The place recovered gradually THE FAILED In 1922, Benito Mussolini ordered the March and in 1953, the Esposizione Internazionale dell’Agricoltura would PROCESS FROM on Rome to his acolytes to carry out a be held there. In 1960 part of the Olympic venues will be arranged in THE PALAZZO TO THE MUSEO DELLA demonstration of strength that led him, in the EUR and is currently considered to be the financial complex of CIVILTÀ October, to the appointment as Prime the city with different established companies headquarters27. The Minister of Italy11. This year was sanctified in area is governed by the public company EUR spa, which has been the fascist myths and that is why around it a transforming its legal structure over the years until in 2000 it acqui- program of commemorations was articulated, among which the X red its current shareholding where 90% is owned by the Ministry of Mostra della Rivoluzione Fascista (1932) and the Universal Exhibition Economy and Finance and the 10% remaining is in the hands of the Rome (1942) which never never celebrated. The first one was municipality of Rome28. inspired by Dino Alfieri, president of the Fascist Insitute of Culture of The emblematic building, the Palazzo della Civiltà . It was held at the Exhibition Center of the Via Nazionale in Italiana, which was the keypoint to the program of the Universal Rome and had the project of Adalberto Libera. The architect worked Exhibition of 1942, was built, accidentally, between 1938 and 1942 with Mario de Renzi and Antonio Valente and we could emphasized with an intermediate open ceremony in 194029. It is the magnum opus the construction of a façade attached to the main one that created a of Ernesto Lapadula, Giovanni Guerrini and Mario Romano after new urban scenography dominated by four monumental refined having been winners in an open competition versus other names of fasces12. The second one, and failed, had already been a victory for great relevance and capacity of that times as Mario Ridolfi, who was the regime to have obtained the permission, on the part of the recognized with the third prize in the call30. competent international organism, to change the date of 1941, It is a 51 X 51 m block in plan and, an approximate, height officially foreseen for the celebration, by the one of 1942, coinciding of 68 m that rises on a great podium with ceremonial staircases. with the twentieth anniversary of the arrival to the power of the There is an area under the body of stairs and six levels of floor, plus Duce13. EUR / 42 universal fair should have been the turning point for terrace, above this ceremonial access. This volume has a repetitive the national character of the Mussolini movement to reach an façade system on all four sides. This is configured by a series of peri- international diffusion and to be understaood from a universalist meter galleries, with 216 false identical half-point arches31. These ar- perspective14. The exhibition of 1932 had established the message chs articulate a setback of the effective closing glazing of the internal that, a decade before, not only the renaissance of had spaces of this building. The space housed in the stylobate and the developed, but also that of the whole of Europe and that of the whole access plant do occupy the entirety of its perimeter and in the other of civilization15. The project of 42 should present the primacy of the levels is located a central courtyard, 10 X 15 m32 that perforates them country and the ideology that governed it in a global framework16. vertically together with the communications kit. If we add surfaces The exhibition aim was defined by a singular political vision. of central patio and galleries we could check that these ones reduce, After the “first Rome”, the Imperial one. After the “se- remarkably, available surface of each level33. This image of refined cond Rome”, that of the Popes one, the “third Rome”, the fascist one, arches connects with the idea, “(...) essential of the Roman and Italian would be built. An idea that involved the structuring of a new capital17. architectural art”, demanded by competition general rules34. It is This plan was based on different strategies, one of the most impor- obvious the connection with the Flavian Amphitheater but also pre- tant being that which made “demolitions” an extraordinary creative sents the debate to discern what was the fascist architectural style, act. This phenomenon protected the elimination of historical addi- if the rationalist, leaded by the editor of the magazine Quadrante, tions in order to edit a true and unique urban environment linked to Pietro Maria Bardi or another more historical and “metaphysical”35. It the imposed fascist values. The primo colpo di piccone activated an is true that arcades are one of the most characteristic architectural architectural and ideological machinery. The planning-demolition-re- structures of the cities built during this political regime régimen36. creation sequence is what leads to “cosmicization” as Mircea Eliade The Palazzo would house the main exhibition to be points out18. A process designed to formalize the prevailing ideology held during this 1942 universal exhibition and it should show the in the city. Different restoration programs, such as those set up in influence of the Italian civilization in different events and epochs, Arezzo, Siena or San Gimignano, also showed how the urban project being understandable both for people of refined culture and for can be put at the service of a determined ideological rhetoric19. general citizenship37. It would establish a sequential track capable of For the truncated event of 1942, this dynamic was not explaining the Italian civilization from its origins to our days, keeping followed and a new construction was projected that would suppose in mind that this proposed museography should be configured with the prolongation of the city according to the urban plans emanating a goal of durability over time38. The dialogue with the building would between 1925 and 1926, which anticipated the dialogue between the be complex. The Palazzo had been conceived as a symbol above any operations developed in the historic centre together with new and other functional program and the spatial configuration that we have 256 RA 21

previously indicated involved a deep reflection on how to effectively between heritage, biodiversity and the economic development of the articulate the different elements that would make up the exhibition. area48. A place where we can locate an important inflation of cultural Groundfloor, according dimensions and structure, was the level that buildings, although, of not very well known by great public that lives could offer better conditions as a museum. In the upper floors, di- and visits the city. mensions and orientations, to mention some points of relevance, we could not find same options. This situation, in a certain sense, links it THE LINK BETWEEN We will not enter into the exegesis of the to same problems that we would locate in the New National Gallery CASA FENDI AND brand, but in 1918 the FENDI house was ROME of Berlin of Mies van der Rohe, but in any case, the building does not founded, focused on the manufacture of verify the solutions that modernity would understand as necessary leather goods. Its recent history is marked in these kind of buildings: flexible grid isotropic (flexibility), glazing by the lost of its original independence and (exterior interior continuity) and (neutrality)39. We could its integration in the LVMH conglomerate. consider that lack of modernity and functionality40 has conditioned This group together with Prada had paid around 1,000 M euros for its consideration as an adequate space for art but has helped to build 51% of the company. In 2001 the French conglomerate buys the its iconic condition from other parameters. 25.5% that was in property of Prada with a disbursement of about In 1938, expert panels of the general program began 295 M and to be able to control effectively the company49. its activities under the presidency of Pietro De Francisci, rector of 2013 will be key for the new “romanization” of the Sapienza41. This very previous year, certifies a relevant interest of this company. At this momento, It was designed a brand new logo in operation and this time of reflection that would take this project. Ex- which the word Roma appears under the name of the company for hibition program had an important challenge: to condense hundred the very first time in its history50. Same year there was also a decisive of events derived from a history of thousands of years. It must also event for the immediate future of the company: Fendi agrees with be able to educate while activating the sensibility of the visitor, local the public company, EUR S.p.A. the exploitation of the Palazzo della and foreign. It is here where the instruments proposed to build this Civiltà Italiana for a period of 15 years, at a rate of around 2.9 M euros visual essay became transcendental: maps, dioramas, schemas and per year51. To this new location, emblematic and conflictive as few in pictorial figurations, among others were studied. A list of exhibition the contemporary history of the city, will be where the Italian house tools, in line with those used in other modern universal fairs, and moves its central headquarters52. Undoubtedly, these are two issues that could lead these challenges by synthesis and clarity through that reinforce the link, the association, between the company and this museographic discourse42. Ernesto Lapadula had been one of the city. the designers most involved in the Mostra autarchica del Minerale Italiano at Circo Massimo between 1938-1939. This event, focused on THE FUNCTIONAL Between 2013 - 2015, architect Marco dualities: science-technique, art-culture, can be considered one of REGENERATION OF Constanzi53, functionally rehabilitates the THE MUSEUM-ICON the exhibition antecedents closest to what the museographic system AS A NECESSARY building in order to be able to accommoda- to be developed in the Palazzo should have been43. In the sketches STRATEGY FOR THE te new tenants, its administrative and of the project that had to be produced, we see how all those didactic CONSTRUCTION OF A creative departments together with a small NEW GLOBAL IMAGE elements dialogue with original and emblematic pieces for the spe- exhibition and dissemination activities cific message that each room would transmit. We must emphasize centre of design made in Italy open to all type of audience54. This that, in most of them, we do not locate any trace that places us in the building is occupied by 450 Fendi employees55. These will settle on Palazzo-museum; a fact that reveals the difficulties of the dialogue the six upper levels and the basement. In the intervention, which has between container and content. involved the articulation of a new program of mixed uses, the Main items would be: culture, art, history and politics. typology of the building has been verified as a flexible matrix, as The Palazzo would be a tabernacle where to find values of that indicated by Carlos Martí, where different strategies end up by civilization, which had been filtered by a fascist ideological tool. This configuring it, really, in time56. building should be stand up in the post-exhibition district. It would This situation, derived from a public-private strategy, be the core of the future model of the Italian City, that was born in has meant that the area destined for exhibitions is quite insignificant this context and place, and that would be renamed as Museo della in the building, although, being on the ground floor, it has a leading Civiltà44. feature because it is the place to receive all those who have climbed During the Second World War it was partially used the monumental stairways. This level shares space with the commu- by the German occupation troops. After that tragedy, in 1951, the nication kits allocated to the offices. The podium floor, the one that possibility of using it as the headquarters of the National Library had a more suitable configuration to support an exhibition program, was studied. In 1953, after partial restoration works, it was the site on is destined to other dependencies of the company such as the coffee irrigation and transformation of lands within the International Agricul- bar57. It is necessary a reflection, still pending to materialize, around tural Exhibition. In 1956 it became the place of the Federazione dei how this podium level should build a public plan in continuity with the Cavalieri del Lavoro. In 1959 it will also use by the Military Aviation. rest of the EUR. This question would be decisive for the building itself In 2001 the offcial competition was published to adapt it as Museo and the whole district. Nazionale dell’Audiovisivo that did not materialize45. Between 2006- The first exhibitions held have focused on Italian issues 2008 there is a comprehensive rehabilitation financed by public and on the universe and culture of the brand itself, which now, holds institutions which were monument managers46. In 2013, Armani used the exploitation of the property. The first one, of 2015, honored its this property as a set for an important event47. This year will also be a location, Una nuova Roma. L’Eur and the Italian Palazzo della Civilttá turning point in the biography of the Palazzo della Cività Italiana. italiana58. Later, Fendi: the artisans of dreams, arrived in 201659, whe- Since its founding, as an icon for EUR 42, its functions re some of the most unique creations linked to the artisanal work of had been established within the orbit of cultural programs but with the firm were exhibited. Giuseppe Penone: Matrice, 2017, showed an a notable variety of them. We must highlight that in the same area, anthological sample of the work of the last 50 years of the artist and today we can find museum centers such as the National Museum of the most transcendent of this series60, and Fendi Studios, 2018, de- Art and Popular Traditions, the National Museum of Prehistory and veloped during Rome Film Festival and which serves to reveal some Ethnography “Luigi Pigorini” or the National Museum of Medieval of the contributions from the company to the world of celluloid61. All Art that coexist with business headquarters such as Poste Italiane. of them reached an important diffusion in generalist media although This neighborhood presents a unique reality defined by the dialogue they have verified diverse arguments and far from the ambitious RA 21 257

exhibition that sought to treasure the Palazzo in its genesis. Let us become an architectural body devoid of relevant activity neither remember Mussolinni´s effort to build an exhibition complex in for its district nor for the whole city. This situation, critical for a which to showcase the determining values of a civilization. A work construction conceived as iconic, had been distilled by all the agents developed for a successive years where some of the most relevant involved in its management and by a series of administrative inertia personalities of culture, art, architecture and politics of the moment that had marked its evolution over time. The articulation of a new were involved. A proposal that should be perennial in time. From an strategy, public-private, respectful of the existing typology and free open approach, these current exhibitions, of a temporary nature, of political accents, has led to the Palazzo’s functional recovery while contrast with those existing in located in the same district re-launching its singular value within global business coordinates. and we could consider that these ones cover a more popular and The definition of an expositive, measured and temporary reality, ephemeral intellectual space. Undoubtedly, this interpretation should combined with another of a productive nature has meant the effecti- be done from our time and where a certain dose of “spectacular” and ve reactivation of this place. appearance characterize these proposals62 that have also reached This reality, under construction, does yield some first places like the in Rome and the Victoria and Albert Mu- positive data for its rehabilitation as a place of work and enjoyment seum in London. of citizens and as an architectural emblem, rediscovered internatio- We can study, in both situations, that discourse cente- nally. This is a case of how the architectural object can overcome its red on specific themes of the country, a blurred connecting thread initial premises to participate, decisively, in the construction of a new that links, weakly, past and current museum discourses. Rémy Zaugg public and global city. points out: “Any architectural element that does not respect the right angle will disturb the immediate and direct perceptive relationship. The architecture will interfere ... It will be a place full of subjectivity, Fernando Moral-Andrés where the expression of the work will be violated or distorted”63. This Architect by University of Valladolid, Master “Architecture: text also refers to a continuity in time that has not been undermi- criticism and project” by School of Architecture of Barcelona and ned by the new tenant: the uniqueness of the building has not been Ph.D. by Polytechnic University of Catalonia. He obtained the In- dematerialized for better museum or commercial development. The ternational Research Fellowship “Jorge Oteiza” by Public Universi- conceptual and aesthetic values of construction have endured, in ty of Navarra. He is Director of the Department of Architecture substance and in form. of the Nebrija University, member of the Consolidated Research The exhibition issue has maintained its presence in the Group “Art and City” of the Universidad Complutense of Madrid complex but subordinated to the corporate functions. The iconic as well as collaborating researcher of the Dipartimento PDTA of reality of the building will also be affected by the settlement of the Sapienza-Università di Roma (Italy). He has been a professor at Fendi house in its place. A global image of the building is being IE University and has participated in academic programs at IIT projected, free of any political stain, by using different tools, as a key (USA), March-Moscow School of Architecture (Russia), Harbin vehicle for the construction of the Fendi brand internationally. Institute of Technology (China) and Architectural Association Since its effective installation in this location, this fashion (UK). His papers have been published in renowned journal such company has begun a systematic incorporation of the Palazzo’s cha- as Arquitectura Viva, EGA: architectural graphic expression racteristic shapes to all its campaigns and sales centrer. In that year and Springer publishing house, among other references. He is 2015, it commissioned the architect Emilia Serra and the designer the author of Oteiza: disoccupied architecture and has Urban Andrea Mancuso to develop a new project: FENDI and “Analogia Tensions in preparation. His work as a curator is reflected in Project”, Traces of Palazzo Civiltà Italiana64. A work that feeds on exhibitions such as ‘Mecanoo architecten: the Dutch mountains’, the structure of the building to generate some pieces (volumetric ‘Abalos + Sentkiewicz: 6 verticalscapes’ and ‘Eduardo Souto de variations) of different condition and scale that continue to influence Moura: Projects and Competitions’. He has collaborated with the the presentation of the values and paradigms of a global brand. The Museo Nacional Centro de Arte Reina Sofía and carries out his arcade is the protagonist of this process that will identify shop win- professional activity from the agency Tattica. His work has been dows, interiors and spaces of the company in any city in the world. finalist of the ICCL Sustainable Construction Awards, XII Spanish This project is added to other more kitsch and mass Biennial of Architecture and Urbanism (BEAU) and Triennial of the reach strategies where the arches and their developments are not Konsthall Virserums (Sweden). addressed from a refined aesthetic project howeve as a recognizable hallmark. We could achive several examples of this situation at FEN- This work has been supported by the Research Grants of the DI store in the Ginza district of Tokyo and the Pop - Up Store in Dubai. Nebrija University abroad (Sapienza - Università di Roma) The first one is located in a privileged corner of a generic building. This paper is linked to the results of the research project of the Here, a new vitreous facade, has been arranged as a dihedral arcade National Plan I + D + i Knowledge Generation 2018: Art, Architec- in four levels. The second one is based on the construction of a cube, ture and Heritage in the processes of construction of the image of around six meters on each side, with six levels of arches destined of the new cultural enclaves (from the District to the Territory), ( to the exhibition of the company’s products. A kind of simplified Ref. PGC2018-094351-B-C43) Ministry of Science, Innovation and replica of the headquarters. This reality is amplified by the publica- Universities. tion and distribution of different images and catalogues where the models of the house colonize the Palazzo. In a way, all this one was already advanced by Federico Fellini in the dream world of Le tentazioni del dottor Antonio 1962, where the historic building had been reproduced to face the scale of the actress Anita Ekberg65. The reference to Walter Benjamin is inevitable and the debate between the cultural value of the work and its visibility is crucial to be able to reach a case like the one exposed66. The history of the Palazzo della Civiltà Italiana has been intense as we can discover in its biography. The different functions planned for its development, mainly museum and exhibitions, had 258 RA 21

Notes 2019, accessed, january, 10, 25. Idem, p. 103. 2016, Vol. 21, n. 28, 2016, p. 167. 01. KERING, “Un écrin de luxe”, 2019. en http://www.kering.com/fr/ma- 26. DUQUE, Félix, Arte público 41. CASCIATO, Maristella, gazine/un-ecrin-de-luxe. 2018, 10. FENDI, “Foglie di Pietra”: una y espacio político, Akal, Madrid, PORETTI, Sergio, Il Palazzo della accessed, December, 15, 2018. escultrua de Giuseppe Penone”, 2001, p. 83. Civiltà Italiana… op. cit., 2002, en https://www.fendi.com/es/ p. 197. 02. PALAZZO GRASSI, “About fendi-roma/proyectos_especia- 27. CASCIATO, Maristella, Pinault collection” en https:// les/Giuseppe-Penone--Foglie- PORETTI, Sergio, Il Palazzo della 42. Idem, p. 198. www.palazzograssi.it/en/about/ di-Pietra , 2018, acceso, 10 de Civiltà Italiana. Architettura e collection/, 2019, accessed, julio, 2018. construzione del Colosseo Qua- 43. Idem, p. 203. January, 10, 2019. drato, Federico Motta Editore, 11. KALLIS, Aristotle, “The “Third Roma, 2002, p. 244. 44. Idem, p. 200. 03. AZIMI, Roxana, “La Co- Rome” of Fascism: Demolitions llection Pinault s´installera en and the Search for a New Urban 28. Idem, p. 245. 45. Idem, pp. 243-245. 2018 a la Bourse de Com- Syntax”, en The Journal of merce a Paris”, in https:// Modern History, 2012, vol. 84, 29. Camilla Verrecchi, FENDI 46. EUR, “Palazzo della Civiltà www.lequotidiendelart.com/ n. 1, p. 43. Corporate Press, provided Italiana”, en https://www.eurspa. articles/9029-la-collection- differents documents with this it/it/asset-property/patrimonio/ pinault-s-installera-en-2018- 12. GAROFALO, Francsco, information , February, 6, 2018. edifici-storici/palazzo-civilta- a-la-bourse-de-commerce- VERESANE, Luca, Adalberto italiana, 2015, accessed, July, a-paris.html, 2016, accessed, Libera, New York: Princeton 30. CASCIATO, Maristella, 23 2018. November, 10, 2018. Architectural Press, New York, PORETTI, Sergio, Il Palazzo della 2002, p. 53. Civiltà Italiana… op. cit., 2002, 47. 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