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April 2010 - CA\' REZZONICO ENTHRONED AGAIN AS QUEEN OF THE GRAND CANAL, THANKS TO REPLAY



April 2010

The restoration of the facade of Ca’Rezzonico palace, financed entirely by Fashion Box – Replay, has been completed on time. Thus the prestigious Museum of Eighteenth-Century Venice stands again in its full splendour, after the significant structural restoration of the nineties. The restoration works took 18 months and were epitomised by an artistic and communicative approach unprecedented in Venice. On the choice of the financing company, the space on the scaffolding was first used to highlight the commitment of the Replay brand, and then to showcase the works of four young artists: Lucia Veronesi, Sebastien Lallemand, Isotta Dardilli and Donatella Di Cicco. This form of communication was respectful, of high quality and of great appeal – and a far cry from the usual type advertising one sees around. 

 

 

 



 The initiative allowed the relationship of the Buziol family with Venice to be consolidated after the opening of the Foundation of the same name, dedicated to Replay founder Claudio Buziol and housed at Palazzo Mangilli-Valmarana. It will be further consolidated at the end of the year with the restoration of the San Gregorio alla Salute abbey, which is destined to become an important point of reference for young contemporary artists from around the world in a part of the city that is now the global point of reference with the Guggenheim, Emilio Vedova and Punta della Dogana museums. The fusion of modern and old has been greatly appreciated not only by the sector press but also by the museum visitors, who have been able to come and admire the originals, on show in the hall of the Palazzo’s first floor.    

To attest to Venice’s international stature and visibility, which represents a sort of “certification” and “guarantee”, Lucia Veronesi, the first artist to exhibit her works at the museum, has been called to Paris.

This is the right way, the correct interpretation of the role the lagoon city always played in the past for the promotion of young talent. It is a project that, as well as giving the company innovative methods of communication, has also allowed for a broadening of the collaboration between the Buziol Foundation and Venice’s Civic Museums Foundation also for the foreseeable future.   

Fondaco is especially pleased with this aspect; for it is through the positive spin-offs between public and private that one can achieve important projects with concrete results.  

The restoration is thus at an end. What continues to be consolidated instead is a valuable relationship between the company and the city. A rapport which sums up the slogan dear to the heart of Fondaco: restaur-azione (restoration-action). Enhancing our historic heritage to set in motion the dynamics for prompting innovative situations that can bring to life the art of today and of the future. 

This is where the strength of Venice lies: in being able to give so much back to those who give her attention.

To bring the emotions to life and “to see with one’s own eyes” the beauty of the rich artistic expression that embellishes the Ca’ Rezzonico facade, in cooperation with Venice’s Civic Museums, the scaffolding is open to the public for guided tours.

This one-off opportunity is not to be missed, for once the scaffolding is taken down, it will no longer be possible to admire the works.

 

 

Notes on how the works were carried out

 

The areas to be restored were in a very poor condition, with decorative stone features constantly flaking and crumbling.

The lagoon’s microclimate had in fact brought on the deterioration of the stone while the polluting agents, along with the atmospheric particles had led to the formation of thick, dark concretions that ruined the rich sculptural aesthetics beneath.

The restoration and conservation works, carried out by restorers from Lares, were thus aimed at halting these processes, first through a strengthening of the elements in danger of falling and a static inspection of the balustrades, and by applying biocidal treatments to halt the biological coating and eliminate the overlying plants material.

The cleaning operations were performed gradually and different methods were used according to the conservation status of the treated surfaces and type of deposits to be removed. Checks on the degree of cleaning and use of a laser instrument for the finish then allowed for the maintenance of the original oxalate coating found only in the areas not subjected to rain-washing. 

The restoration work then went on to focus on the ruined plasterwork by applying lime-based mortars and micro-fillers to the areas affected by micro-flaking to improve the flow of rain water and prevent alterations in the future caused by frost-thaw action.

The conservation work, which proved particularly complex due to the different qualities of the Istrian stone used by Longhena and Massari, has helped to save the elaborate decorations and to rediscover the original surfaces and coating still present on the facade.  

 

 






 
 
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