据史料记载，如今我们所看到的L.B. Alberti广场是于20世纪初规划完成的，在那之前，这里并不是公共广场，而是作为教堂的庭院或修道院的回廊使用。在1935年绘制的地图上，L.B. Alberti广场呈规整的矩形。在最近一次的城市更新中，通过拆除周边的建筑物，使广场在西北方向上得到了延伸，从而重新定义了城市公共空间。
A historical reading tells us how Piazza Leon Battista Alberti was defined in its current configuration only at the beginning of the 20th century. Before that period it was never a square; the open space was used as a courtyard or a monastic cloister. The latest demolitions that have taken place have defined the urban void by deforming the space towards the northwest by removing the regularity of the shape of the square as it appears in the maps of 1935.
▼广场概览，overall of the project © Giuseppe Gradella
教堂以往的改造设计都忽略了建筑与城市公共空间的关系。因此，项目的核心旨在，通过广场改造使教堂与周边城市空间形成统一的整体，此外，事务所还将为项目打造一套兼顾可读性与指向性的标识，展示出原场地的悠久历史，保留其丰富的符号学意义，用精湛的设计语言定义出当下 L.B. Alberti广场的鲜明特征。为了纪念学者与建筑师Leon Battista Alberti，Archiplan Studio将巴西利卡式 (Basilica)教堂的次入口空间作为整个广场的中心。白色的鹅卵石与雨花石混合铺制的广场与教堂入口前的地面形成分层，清晰地定义出纪念空间。
The project for the construction of the temple has never been accompanied by a design that could define a precise relationship with the urban space. The new arrangement of the floors aims to make the perception of space unitary, while maintaining the possibility of reading the different functions and the different signs and meanings that have settled over time; aspects that jointly define the precise character of the place today. The part in front of the side entrance of the basilica constitutes the central space of the square which celebrates Leon Battista Alberti, scholar and architect, and is hierarchical by introducing a mixture of white pebbles to the river pebbles that pave the whole square, which define the monumental space.
▼教堂的次入口空间作为整个广场的中心，the side entrance of the basilica constitutes the central space of the square © Giuseppe Gradella
▼白色的鹅卵石与雨花石混合铺制的广场，mixture of white pebbles to the river pebbles that pave the whole square © Giuseppe Gradella
项目材料与规划形式上的选择极为考究，旨在使广场上的不同元素之间达成平衡，营造统一和谐的整体氛围。白色的石板铺设在修道院原有的回廊区域，这种设置，使人们清晰地辨别出回廊的周长与结构，联想到场地悠久的历史。
The formal choices underlie an almost archaeological approach with the intention of keeping in balance the signs that define the different characters of the places in the overall composition. The area on which the cloister once stood will still be identifiable in its geometric structure thanks to the use of white stone slabs that define the perimeter of the porticoed cloister.
▼白色的石板铺设在修道院原有的回廊区域，the cloister once stood will still be identifiable in its geometric structure in white stone slabs © Giuseppe Gradella
▼石板形成清晰的边界，stone slabs make clear boundaries© Giuseppe Gradella
在教堂华丽的阿尔伯蒂式(Albertian)立面的对面，伫立着一架青铜结构的长凳。长凳上摆放有一系列石制构件，包括带有教堂平面的石板，供视觉障碍人士阅读的盲文浮雕说明，一些在该巴西利卡式教堂改造中替换下来的石材样本，以及一块刻有铭文的石板。这些元素使人联想到教堂地窖中保管的圣器，彰显出祭礼建筑的起源。此外，青铜结构的另一端还形成一段带有垂直靠背的座椅，并提供了一些基本游客信息。
On the opposite side of the Albertian façade there is a contemplative seat made with a bronze structure, on which there are: the stone cube that houses the bas-relief that reproduces the structure of the Albertian front for use by the visually impaired, some stone finds from the basilica’s factory worthy of enhancement, an engraved slab that recalls the custody of the Sacred Vessels in the crypt of the temple, origin of the construction of the cult building, a seat accompanied by a vertical structure that allows to provide basic tourist information.
▼青铜结构长凳装置概览，contemplative seat made with a bronze structure © Giuseppe Gradella
▼由座椅一侧看教堂，viewing L.B. Alberti by the seat side © Giuseppe Gradella
▼青铜结构的另一端还形成一段带有垂直靠背的座椅，a seat accompanied by a vertical structure © Giuseppe Gradella
▼教堂改造中替换下来的石材样本，some stone finds from the basilica’s factory worthy of enhancement © Giuseppe Gradella
▼长凳细部，detail of the contemplative seat © Giuseppe Gradella
为使主要纪念空间与商业空间形成明显的分区，场地周边的地面上设有一系列带有浮雕的大块地砖，地砖上以线条的形式抽象出 L.B. Alberti教堂的形象，起到了分界的效果。这一设置与这座历史名城的宝石传统息息相关，可以视作曼图亚典型的建筑特色之一，由贝尔塔尼宫的正立面和圣玛利亚教堂的墓地便可看出。
To separate the main places of the monumental space and the areas destined for commercial activities, a threshold was provided consisting of some engraved plates celebrating the intellectual figure of Leon Battista Alberti placed on the ground. This choice is linked to the lapidary tradition of the historic city which in Mantua has numerous and extraordinary examples; above all the front of the Bertani house and the churchyard of Santa Maria della Carità.
▼带有浮雕的大块地砖以线条的形式抽象出 L.B. Alberti教堂的形象，engraved plates celebrating the intellectual figure of Leon Battista Alberti © Giuseppe Gradella
▼教堂平面与盲文细部，the bas-relief that reproduces the structure of the Albertian front for use by the visually impaired © Giuseppe Gradella
设计师在场地的西侧设置了一排树木，为广场规划出规则而清晰的边界。此外，设计师还将绿化元素与长椅等服务功能引入项目，在场地的北侧边缘形成一个绿树成荫的休憩空间，为人们提供了一个日常休闲与商业活动过后的放松场所。
The intention is to give the square a regular shape by specifying the edge placed to the west, by creating a small row of trees. In order to define the lower edge of the square which is currently fringed, a tree-lined space is introduced with seats dedicated to the rest of the people, while the portion of the square adjacent to the vegetation system is simply intended for daily and commercial activities.
▼北侧休憩空间中的座椅，the seats in the north tree-lined space © Giuseppe Gradella
▼石材细部，details of stone elements © Giuseppe Gradella
▼青铜构件细部，details of bronze elements © Giuseppe Gradella
▼休闲空间夜景，night view of the tree-lined space © Giuseppe Gradella
▼平面图，plan © archiplanstudio
▼剖面图，section © archiplanstudio
▼构造大样，details of construction © archiplanstudio
