In the countryside of Rome, hidden in a forest outside a small village, there is a forgotten renaissance pavilion. It’s the Bramante’s Nymphaeum, designed by the famous Italian architect Donato Bramante, built at the beginning of the fifteenth century by the Colonna family in Genazzano, near Rome.

It was the main element of a huge garden, with some lakes and a small river, located on the hillside next to the main door of the town. It was abandoned right after its completion.

Participants of this competition were asked to reuse this space as a theatre and a public park.


Lorenzo Novajra, Giovanni Stoppoloni


Tobias Rabold


Ana Luísa Schoenell, João Victor Ortiz

Photo Gallery

Awards ceremony and Exhibition

Competition's Jury



Once registered, each participant will access to:

A gift from Archicad

Graphisoft joined our mission and it offers a extended educational license (instead of the standard 30 days) of Archicad and BIMcloud access to those who participate to our contest.

Dossier n. 4 - Reuse the Lake Chapel

Reuse Italy’s Dossier n. 4 – Reuse the Lake Chapel is a collection of the first 50 projects of the competition: as you scroll through the projects, you can see the endless possibilities to bring back life inside those ruin.

Collateral Call #1 - Collage on Locus Amoenus

In collaboration with Koozarch. Participants to this collateral call are asked to explore the conditions of juxtaposition by making a collage of the Nymphaeum image, together with any other element of choice.

Winner proposal: Andrej Jovanović

The Nymphaeum of Earthly Delights

A collage with: The Garden of Earthly Delights, Hieronymus Bosch, 1510.


Collateral Call #2: Spatial translation: Bramante's void.

In collaboration with Poesis of Space. Participants to this collateral call were asked to investigate the spatial dimension of the Nymphaeum by representing it in a drawing based on the plan.

Winner proposal: Tobias Rabold

Juxtaposing the Void

Bramante’s approach of the production of space was determined by the desire to construct the unoccupied space – the void – by shaping the solid space surrounding it by means of order and proportion. Considering it part of Bramante’s œvre, the Nymphaeum in Genazzano has been following the same approach. And yet – paradoxically – has not lost its quality even after its decline. The spatial power of Bramante’s stage-like void prevails.
This analogue hand-drawing is trying to explore the qualities of the multitude of voids within Bramante’s project by juxtaposing it to an abstract, almost generic version of itself. Following the underlying rules as well as an extension of the same order, the drawing offers multiple layers of lecture: two versions of the same space in different stages of abstraction and decay; two twin-like spaces connected by a central void; or even one single Bramantesque structure with various layers of void, order, abstraction and possibility.

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