Patrimoni al margine. Mimmo Paladino e la piazza dei Conti Guidi a Vinci (2001-2006) /

Environmental art plays a prominent role in the cultural landscape of Tuscany, expressed both through large-scale anthological parks—such as the Fattoria di Celle Park, the Garden of Daniel Spoerri, and Niki de Saint Phalle’s Tarot Garden—and through site-specific installations that interact with the landscape and urban fabric. The reconfiguration of Piazza dei Conti Guidi in Vinci exemplifies the latter category. Notably, this architectural intervention has not been incorporated into local or national heritage protection frameworks. This paper examines the case of Vinci as a critical example. The project originated from a collaboration between the Municipality of Vinci and the association Arte Continua, active between 1999 and 2004 in promoting contemporary art across Tuscan villages. A design competition launched in 2001 assigned the commission to artist Mimmo Paladino, working with architect Nicola Fiorillo, a long-term collaborator. The square, formerly a residual space within the historic center, is surrounded by key landmarks, including the Church of Santa Croce, the rear façade of the nineteenth-century Town Hall, and the Palazzina Uzielli, now part of the Museo Leonardiano. The intervention pursued two aims: to redevelop the square and to redefine it as an introductory space to the museum. The installation occupies the entire surface of the square, with inclined planes of varying heights leading to a floor-level fountain adjacent to the museum entrance. The pavement is inlaid with silver mosaics evoking symbols associated with Leonardo da Vinci's work. Although the project underwent several revisions, the square was inaugurated in 2006. Crucially, however, no maintenance or monitoring strategy was implemented. While the site is recognized by urban planning regulations as a locus of contemporary art requiring protection and enhancement, it remains outside the scope of the Italian Cultural Heritage Code. Today, nearly two decades after its completion, the square shows advanced deterioration, including material losses, detachment of elements, and theft of decorative components.