Venice-based architecture studio AMAA has successfully transformed spaces within a 19th-century Italian town hall into a striking contemporary cafe that seamlessly blends historical elements with modern design. The project, called Caffè Nazionale, is located within Arzignano's Palazzo Municipale, which was originally designed by architect Antonio Caregaro Negrin in the late 19th century.

AMAA founders Marcello Galiotto and Alessandra Rampazzo approached the renovation with what they describe as a "delicate intervention," focusing on celebrating the worn surfaces and historical character uncovered during the restoration process. "The Caffè Nazionale project is a living work that embraces existing materials and their stories to create a new architecture," the duo explained. Their initial work involved carefully removing incongruous additions and layers that had accumulated over the decades, which had obscured the building's historical essence.

The architects' primary objective was to enhance the connection between the interior spaces and the adjacent public square, which remains visible through large arched openings in the facade. This vision led them to create a sequence of connected spaces that follow the axis of the colonnade while maintaining clear views through the building toward a small internal courtyard. The layout was specifically designed to preserve these important visual connections throughout the space.

The cafe's entrance, located at the center of the palazzo's colonnade wing, leads visitors into a large space containing the main bar area. At one end of this room, an open kitchen remains visible to patrons through an internal arched opening, creating transparency and connection between the service areas and dining spaces. A staircase positioned between the kitchen and bar provides access to a more formal restaurant located on the first floor.

Immediately to the right of the main entrance, a second set of arches connects with the main hall, which showcases preserved details such as the original textured plaster walls. A distinctive folded and perforated stainless-steel partition spans the entire length of this space, offering partial views of arched openings that mirror those found on the building's facade. This metal installation serves both functional and aesthetic purposes in the overall design scheme.

A large pivot door within the metal wall leads to a vestibule dominated by a large window that overlooks the internal courtyard. The architects planted birch trees in this courtyard space to introduce natural elements to the overall scheme. Behind the pleated metal wall, posters by artist Stefan Marx add a playful detail intended to evoke the theatrical posters of the Belle Époque period. The vestibule also contains a basin for the adjacent restroom facilities.

In the main cafe space, the architects installed a polychromatic marble floor that echoes the adjacent colonnade while bringing a more domestic scale to the interior. A coffered wooden ceiling conceals lighting systems and improves the space's acoustics. The ceiling's materiality is reflected in custom-designed furniture created through collaboration with artist Alessandro Neretti.

The seating arrangement follows a systematic approach using wooden tables and benches inspired by New York subway furniture and the work of American artist Donald Judd. A central double-sided bench divides the space along its length, creating distinct zones for different types of dining experiences. On the internal side, rectangular tables are paired with mismatched vintage chairs, while smaller circular tables and stools are arranged along the side facing the public square.

The architects set out to preserve as much of the building's original character as possible while layering new elements to enhance the theatrical atmosphere of the spaces. "The consolidation acknowledges the passage of time, enriching the rooms with a raw and imperfect materiality that speaks to the idea of the unfinished and the continuous evolution of each element," Galiotto and Rampazzo explained. Even the interventions required to conceal necessary services and technical rooms follow this philosophy, revealing their components and construction techniques to complement the interior's honest, raw aesthetic.

AMAA maintains its headquarters in Venice but works extensively in nearby Arzignano, where the studio established a satellite office in an abandoned plumbing factory. The studio's research-driven approach frequently involves repurposing existing spaces and architectural elements, as demonstrated in previous projects that have included creating installations by stacking shipping containers in disused industrial buildings. This project represents another successful example of their philosophy of breathing new life into historic structures while respecting their original character and significance.