Report on the restoration

A very precious restoration

Finally abandoned in the sixties, Villa Torretta was rescued by a meticulous and passionate restoration

The restoration has confirmed the genesis of Villa Torretta fortified as outpost of the castle of Bicocca and highlighted the additions of the early 1600’s. The transformation of Delia, the daughter of Leonardo Genoese Spinola, a man trusted the banker Tommaso Marino, who married in 1530 to Governor John Como Anguissola. Widowed and childless Countess raised the tower to his residence and place of good living and dancing, and jousting tournaments.

The complex was inherited from cousin, the Marquis Giovan Gerolamo Marino, who played a major role in completing the artistic arrangement of the interior with new frescoes. The attribution of the frescoes in the villa and those of the highest value of the Oratory (also of the impending restoration) refers to the workshop of Procaccini, the Genoese Simone Barabino, one senses the hand of the fields. The tower then went to the Marquis d’Este, was owned by two centuries Serbelloni-Busca to go to the end of the nineteenth century to the Marquis Stanga and then the family De Ponti in 1903 – now reduced to a rural building – with the ceded areas adjacent to the Company Ernesto Breda.

“From the design point of view has been a living in the trenches. We kept everything that was possible to maintain, recovered all the previously unknown painting by working more than that facelift surgery, relocated the frescoes already known and had been previously stripped and stored at the Certosa di Pavia. New buildings, however, that meet the elevation and volume gods existing ones, are limited to the wing Iungo Via Milanese, to the barns were demolished”.

 

Giancarlo Marzorati – Architect responsible for the architectural rehabilitation project

The roof of the villa has been completely rebuilt since collapsed or unsafe, but as in many attics have kept the main warps (now easily readable in the rooms of the attic) travoni consist of four centuries old oak, the supporting part of the mantle coverage has obviously been rebuilt, and saved the original tiles as not to distort the historical value of the building. Were then removed all the walls and halls intermediate choking the original volumes and large halls have been reported to double height.

The exterior walls were finished in the color of a clear land which incorporates the original one, while the interior walls, when they are not painted, they are not polished Venetian plaster, from the texture pleasantly uneven, in an ivory color (pink or in some rooms) .

In the arcades and in those areas (such as the lobby) that were originally transit areas, the floors have been built or connected to those existing in a gray gneiss of the Valtellina, and typical native, otherwise the public areas have tiled floors waxed Lombard hand. Always cooked but with bricks arranged to coast, is the paving of the courts.

The windows are made of oak moldings and reproduce the shapes of existing in a gray hue is typical of the noble buildings of the time. In even the oak doors and main doors of the rooms, as well as the flooring (solid, open mesh with flaming wax) intradotti in many rooms and public areas.

The building is of considerable extension (planimetric development of the flooring is about 5 thousand square meters) and is composed of a series of buildings fused together in a sequence of time that goes substantially from 1540 to half of the seventeenth century. The complex shows a plant in the form of “E”.

The longest side and the highest elevation (five levels between floors, mezzanines and under the roof) facing southeast corner of the Oratory of Santa Margherita. The tower, which gives its name to the stands at the western end of this side. Note that in the design of the Park north of its main axis crossing takes its origin from the tower: the link between the villa and the park has been strengthened by a direct connection via a pedestrian walkway, bicycle and traveled by horse (which features special protections) that crosses Viale Fulvio Testi.

The southwestern corner of the Villa, at the great hall on the top floor, is characterized by SERLIANE Hall, an elegant sequence of windows that alternate time zones in areas with flat resting on beams supported by granite columns always Granite: a stylistic trait undoubtedly seventeenth century. Also on the front entrance a vertical masonry was left exposed to remember the limit of a portion of the building can not be confused with the next, while the metal elements are a trace of the tie rods which bound this part of the manufactured with other more ancient.

The two courts are open on the side opposite the entrance to the north towards the garden and are defined by bodies of different elevation and importance because they had different roles.

The eastern courtyard was intended to farm work and craft activities, access from the southern facade of the wagon was done through a doorway which have now been made the reception and bar, while the balconies on the two floors (now dedicated to rooms) reveal that here there must have been the homes of employees of the villa. The east wing was completely rebuilt: only grows in height above ground for a plan which has been placed on the role of multi-purpose room of the Court and through large French windows open onto a courtyard rustic. In the basement a large hand in the auditorium foyer leads obtained under courtyard. The great room combines technological and aesthetic value, because the sound-absorbing elements of brick and wood that wrap around the walls have a decorative role, the audience is drawn from an elegant arched lane while the stage is defined by the two scales outputs safety.

From the edge of the rustic courtyard garden begins with paths, flower beds, fountains, parking for 30 cars, under which has been getting a garage with 50 spaces.

The court was Western rather than the noble reveal how the architecture of greater value, in particular the splendid triportico and two twin lodges on the first floor: this is also the heart of the new civil service of the hotel. The entrance is through a doorway that leads under the arcades they overlook rooms and suites and the grand staircase leading to rooms on the first floor to allow for full enjoyment of this area has created a link that closes the glass window strings but left in plain sight the elegance of the architecture. The tables of the court noble history of the building reads more easily: the front panel is made up of two parts of different ages, with a string of columns included in the wall, The other composite windows for the sixteenth, the west wing is the oldest part and keep reinforcing elements that probably Iegavano original military building.

Guests who reach the first floor is taken straight from the great pictorial story that illustrates the Salone delle Rondini, coffered ceilings that simulates a bright sky, and the Hall of Coats of Arms painted with shields Anguissola, Visconti Borromeo, Marino. Two dining rooms with vaulted ceilings offering instead mythological motifs. This is the area dedicated to parties, to the breakfast for resident guests, the buffet of a prestigious conference.

Very interesting from a historical point of view is the body where it is recognizable Western origins of the tower: the walls date back to 1200, perhaps with slits at an altitude offset from the next floor and the walls are made of an alternation of river stones and bricks, while newer ones are “pouch” in several places this “story” has been left exposed. This wing has been dedicated to the restaurant “Il Vico della Torretta” with three rooms with frescos (hunting scenes, paintings of architecture, trompe-l’oeil) on the open porch. The conferences are devoted to the upper floors of the great room “delle Serliane” more intimate rooms Anguissola, Marina and Spinola, decorated with fine frescoes.