From the traces to definition of the monumental space. The case of Bartolomeo Ammannati’s “Fontana di Sala Grande”

Art and Architecture are two meaningful parts of the humanity cultural heritage, being a product of the human artistry, they are subject to the declination of the taste, of the styles, of the decisions of the historical period they belong to. In this case study, the specific approach to Ammannati’s Juno Fountain opens the paths to a series of lectures and interpretations to clearly read the original shape and setup of an “unrealized” masterpiece from the XV Century. The physical reconstruction, kept in the National Museum of Bargello in Florence, leaves open the “mystery” about the original Ammannati’s plot, the design intentions he was bringing on for the “Sala Grande” in Palazzo Vecchio. To correctly read them and to define a correct strategy of intervention, the need to understand and have a clear knowledge about the contest and the studied monument is mandatory; any choice far from this will fail or, in the worst situation, may cause fake interpretations. The investigation will be proposed to hypothesize about this meaningful monument and its possible asset inside the “Sala Grande” before the Vasari’s intervention (today it call “Salone dei Cinquecento”). The resetting of the Fountain involved questions about original project of the south wall of “Sala Grande” which was an integrating part of the Monument. This kind of reasoning represents an important step to apply an academic study to display matters. In fact, the part developed is peculiar to communicate at Palazzo Vecchio’s visitors that the Salone is changed and that they can find a piece of the old configuration in the Bargello. The acquaintance with the space containing the Fountain is important to understand Ammannati’s masterpiece. So the theory part is the first step to develop a Site Specific Project. The digital modeling based on an accurate 3D scanner survey allowed using high-quality models to verify and check the possible reconstructions and combinations from the single pieces to the possible original setup. The use of physical light simulation and of virtual sun positioning system, allowed the correct conditions to “see” the possible Ammanati’s plots behind the “Fontana di Sala Grande” project.