The villa’s exterior appearance is simple but elegant: marbled surfaces, regular-shaped windows, elegant wrought-iron balustrades of the terraces that echo the motif of the railing of the interior staircase. Internally, it features a pleasing variety of decorative elements, from the neoclassical tempera paintings on the ground-floor hall depicting scenes from the story of “Angelica and Medoro,” to the vaulted ceilings decorated with various motifs on the second floor, to the full-color “papiers peints” with American panoramic subjects that adorn the rooms on the second floor from one of the two leading French manufactures operating in the 1830s, Henry Zubèr. Over the years, work has been carried out to protect the building and restore the facades with marmorino plaster and interior spaces (Venetian terrazzo floors, monumental stone staircase, doors and decorative elements) in order to preserve its monumental appearance. Relevant is the redistribution of the interior spaces and the central hall with its painted coffered ceiling to which, given its considerable height, we wanted to give the image of a library hall on two levels, creating a bookcase on a mezzanine structure that surrounds the entire room, leaving the central space free, without losing the unity and symmetry of the hall.

Located in proximity to the main body of the villa by following the small, stepped downhill road between the walls, (handed down as “the friars’ alley” from a Fogazzari quote), one reaches the annex called “Torretta.” This is a stone and brick building, characterized by a central 16th-century tower-like body around which the three 1970s bodies of the building unfold. Access is from the small road on the east side of the tower, at the basement level, which was restored in 1976 after being buried during the 1800s. The idea was to improve the functionality and health of these interior rooms through some distributional changes and appropriate functional furnishings, with interventions aimed at solving the persistent problem of the rising damp. Preservation needs and new layout of spaces intervene in the definition of an overall and unified project, articulated in two phases that first involved the interior spaces with the new layout and the study and design of furnishing elements, and more recently the roofs and facades, in harmony with what was carried out on the villa to which the turret is pertinent.

The small adjacency called the “Caretaker’s House,” developed on two levels, was the subject of a systematic restoration which included the renovation of the roof, the redistribution of the interior spaces, new mechanical systems, and the recovery of all the wooden elements present (inter-floor, roof trusses, wooden fixtures, floors on the first floor). The connecting staircase is new construction, made entirely of sheet metal and suspended in part from the upper floor slab by means of metal profiles that also serve as a parapet, which follows the internal wall, which determined its variable width.

The outdoor spaces surrounding the villa are very diverse. The historic garden, on the west side up to the main entrance gate (in axis with the adjacent Villa Valmarana ai Nani), and characterized by tall trees, has been preserved in all its elements, through pruning and reshaping of the foliage, weeding, consolidation of the terracing, upgrading of pedestrian paths, attention to the grass, and restoration of the sculptural elements and the monumental gate. Toward the boundary wall bordering the Valmarana Road, where there is a garden covered in grass, a regularly-shaped in-ground pool has been built. It is finished with dark color gradations for the pool and the stone border to recall the decorative and sculptural elements of the monumental complex, all mitigated by vegetation such as hedges or rows of fruit trees.