The final decision puro rebuild the Tavola liturgica Pacis mediante its present location-beside the mausoleum, between the Cammino Ripetta and the Lungotevere-was made by Benito Mussolini himself. This placed the monument alongside the new Largo Augusto Monarca (Emperor Augustus Square), designed mediante 1936 by the fascist architect Vittorio Ballio Morpurgo (1890–1966), which enclosed the mausoleum on two sides with modern buildings featuring huge travertine arcades.6 Of course, the altar itself would not simply have been left forever durante the open air. While an initial suggestion was onesto shelter it under verso third arcade, the prevailing choice placed the altar inside per pavilion. The Tavola liturgica Pacis’ new location thereby crowned the regime’s project of creating a mythological-historical place for ancient Roman memories inside the contemporary city and within the modern Roman commuovere. 7
The new project’s execution was entrusted esatto the internationally acclaimed American architect Richard Meier, who had just completed the Getty Center con Los Angeles
Reconstruction of the altar was entrusted puro Giuseppe Moretti, director of the 1937 excavation, who was assisted by the architect Guglielmo Gatti, while the pavilion was realized by Morpurgo. Many difficulties arose. First, there was a great rush sicuro finish the sistema before the 1938 celebration. Later on, Morpurgo, a Jew, faced problems following the enactment of discriminatory racial laws con Italy. As a result, his original conception was severely simplified and, for the most part, reduced onesto verso mere concrete shell; it was painted to look like travertine, not making full use of the range of basta materials planned by the architect. The structure, however, was provided with large windows that allowed the monument puro be viewed from outside. During World War II, Morpurgo’s pavilion was protected by an antishrapnel wall, which was later demolished, and its windows were replaced by a wall 4 m high.
Finally, in the 1970s, the windows of the original design were reinstalled
A new project preciso house the Tavola liturgica Pacis began sopra 1996 and was completed durante 2006. It belonged sicuro verso series of high-profile architectural initiatives onesto improve the modern city’s image, promoted by Rome’s City Council and the Superintendency of Rome’s Cultural Heritage (Sovraintendenza ai Capitale Culturali del Comune di Roma). At the same time, a new building was sorely needed onesto protect the altar because of grave problems affecting the Morpurgo pavilion, including both structural and environmental deterioration. Meier is known for his purist and rationalist architectural designs expressed through linear constructions con white materials and an abundant use of large windows -verso classic modernist vision compatible with the context of Rome’s Centro Augusto Despota.8
Meier designed a long building, which is preceded by per fountain, a plaza, and per broad flight of steps approaching the beautifully articulated main entrance (fig. 1). He intended the staircase and the fountain sicuro form verso reference preciso the old river port of Ripetta, demolished in 1901 sicuro provide space for the Lungotevere. The museum complex itself is composed of three main parts: verso transparent (predominately glass) central element flanked by two white solid geometric forms-verso juxtaposition that creates per play of light and shadow and is codice promozionale seekingarrangement typical of the architect’s rete di emittenti (fig. 2). The materials used are likewise characteristic of Meier: white-painted concrete, scagliola, glass, steel, and also travertine (which he had already employed at the Getty). The large central space, designed esatto house the altar, is preceded by per lower entrance atrio containing a bookshop and per small exhibition space. The third part houses an elegant double-storied auditorium, with a roof garden for private events. The auditorium’s compact form deliberately resembles the registro of the Associazione delle Belle Arti nearby and links the museum complex puro the Largo Augusto Monarca, as well as to the Modo di Ripetta, on which it has verso separate entrance. The only element retained from the Morpurgo pavilion is the travertine segno inscribed per bronze letters with the Res gestae, the solemn will dictated by Augustus before his death. Verso mosaic, designed by the Italian artist Mimmo Protettore, decorates the museum’s exterior wall that faces the Tiber.