We ignore the names of

We ignore the names of the owners and the identity of the tenants of the two domus. However, according to the location at the centre of the Urbs (city) near the Imperial Fora and according to their dimensions (over 1000m2) and plan, typical of important late Roman domus, we may suppose that they were senators or dignitaries of the imperial court.
Conservation works and the design for the display of archaeological findings Therefore, we built no longer a mere container for temporary exhibitions but, rather, a museum of the very true “essence” of the city of Rome, that joins harmoniously and incorporates structures from different centuries and with different functions. The result is a space that allows the visitor to appreciate artefacts and structures while following a path through various historical ages: from the 16th-century courtyard to an ancient Roman domus with private thermal baths and to the pedestal of the Trajan׳s Column by way of a Second World War air-raid shelter. The arrangement of the visitors׳ path raised considerable problems because of conflicting requirements, such as providing full access to the archaeological sites, including mosaic opus sectile floors, and spaces at different levels, while ensuring an adequate micro-climate in the underground rooms with the presence of visitors; allowing access for handicapped users; and making the path easily intelligible while maintaining the essential atmospheres that may have been experienced by those who originally frequented the areas.
Footbridges The surface of the footbridges, and even the railings, are made of glass to minimize visual impact. The floors are implemented with the use of “Blindovis” glass consisting of three laminated layers of 12mm glass panels, joined by two sheets of perfectly transparent film in polyvinyl butyral plastic (Figure 14). Transparent parapets are implemented with the use of tempered laminated “Visarm” glass, composed of two 8mm×8mm glass plates, joined by the same plastic film. The structural support of the footbridges is made of steel frames that are held firm by hanging brackets connected to the walls and supporting Anti-diabetic Compound Library attached to the roof structures of the environments themselves. Everything is finished with mica-based flame-retardant charcoal grey paint similar to cast-iron. The solutions used and the thickness and colour selected aim to minimize the visual impact of the structures (Figures 13–15).
Illumination
Air conditioning
Multimedia exhibition Virtual reconstructions, graphic effects, and movies are used to revive the hypothetical original appearance of the environments (Figures 16 and 17) and the daily life that took place here to evoke the same feelings felt by the original inhabitants. This undertaking uses special software to manage dozens of projectors, electronically programmed lights, sound effects, and 3D reconstructions.
Introduction The first issue concerns the worthiness of implementing a restoration plan if past elements are almost completely lacking. The second issue involves the means to achieve such work, that is, whether to perform a reconstruction rather than a restoration.
Design strategies
Elements of the plan
Introduction Today façades are individual building envelopes with larger parts of glass. It is spent much effort on the aesthetic design and the high-quality-look of the whole project to fulfill the clients expectations. But sometimes, if one looks at these glazings colored stripes and spots, which are known as anisotropies in a façade context, can be observed (Figures 1 and 2). From an architectural point of view these patterns are unaesthetic and disruptive. Normally, the effect of this phenomenon is stronger on days with a clear blue sky and varies with the angle of incidence as well as with the relative position of the sun to the glazing, due to the high degree of polarization of the light under these circumstances (see Section 4.2). But forebrain seems that not only the blue sky forces the anisotropies, but also the presence of a smooth water surface, wet streets, polished granite flooring or other shiny non-metallic objects abets the appearance, because these surfaces emit or rather reflect polarized light too (see Section 4.1). The reflection of light by metallic objects does not intensify the degree of polarization since the underlying physical process is different (emitters are electrons not Hertzian dipoles). Black background behind the glass makes the effect more visible than light ones. Thicker glasses or laminates of two or more panes show a stronger effect than thinner glasses, because the path of the light through the glass is longer compared to the thin ones. Otherwise, the reflections of bright objects and buildings are stronger than the visible anisotropies, so that it will not be noticed by the observer anymore. Furthermore only tempered glass is affected, due to the imposed mechanical stresses. In most cases nothing of the prescribed effects are noticed at the manufacturing.