Question: Who was the architect that created the main modern design of the Palace of Vesailles?
About the article "Palace of Versailles", section "The four building campaigns (1664–1710)".

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The Giureconsulti Palace (in Italian: Palazzo dei Giureconsulti), also known as Palazzo Affari ai Giureconsulti or simply Palazzo Affari, is a 16th-century building of Milan, Italy.
It is located in Piazza Mercanti, former city centre in the Middle Ages.
The construction of the palace began in 1562 on a design by architect Vincenzo Seregni.
The palace replaced an older one (dating back to the 13th century), which was demolished.
The overall style of the building and its decoration is Manneristic.
A pre-existing tower by Napo Torriani was preserved and adapted to the new architecture as a bell tower; the bell, which was nicknamed "Zavataria" after Zavatario della Strada who donated it, rang to announce such events as public executions.
The bell was later replaced by a clock.
The building originally served as the seat of the Collegio dei Nobili Dottori ("College of the Noble Doctors"), a school for aspiring politicians and lawyers.
After the 18th century it was used for other functions, including as a stock exchange, as the seat of the telegraph company, as the seat of the Popolare di Milano bank, and finally as the seat of the Chamber of Commerce (from 1911).
Today, the building is still the property of the Chamber of Commerce.
The palace was severely damaged by the bombings of World War II but was thoroughly restored in the 1980s by Gianni Mezzanotte, who is also responsible for the design of Palazzo Mezzanotte, the main building of Piazza Affari (the seat of the Italian stock exchange, located in the same district).
During this restoration, the palace was enhanced with hi-tech equipment, such as modern communication lines and multimedia appliances, to create a prestigious multi-functional venue to accommodate events, conferences, and such.
It was at this time that the new denomination of "Palazzo Affari" was adopted, although the Palace is still largely known by its former name. 
The square itself is built on the former site of the Baliënplein, which was the main market square adjacent to the former palace of Coudenberg.
The palace burned down, however, during a fire that took much of the original royal complex on the night of February 3, 1731.
Construction of the new buildings around the square took from 1773 to 1780, using the design of French architect Barnabé Guimard, who received that commission in 1769.
The square is almost an exact replica of the Place Royale in Reims.
During the Belgian Revolution in 1830, a barricade was erected across the eastern exit of the square next to the current BELvue Museum, facing the Brussels Park.
Two cannon were also positioned on it. 
Barry Cunliffe(who was the architect who uncovered Fishbourne) has put forward the theory that Fishbourne Roman Palace was Cogidubnus's royal seat.
Certainly the early phase of the palace, which dates to around AD 65, could have belonged to him or to one Tiberius Claudius Catuarus, whose inscribed gold ring was found in excavations close by.
Miles Russell, however, has suggested that, as the main constructional phase of the palace proper at Fishbourne seems to have been in the early AD 90s, during the reign of the emperor Domitian who built the Domus Flavia, a palace of similar design upon the Palatine Hill in Rome, Fishbourne may instead have been built for Sallustius Lucullus, a Roman governor of Britain of the late 1st century.
Intriguingly, Lucullus may further have been the son of the British prince Adminius. 
In 1719, the old Renaissance castle from the late 16th century was demolished.
The newly appointed Privy Councillor Magnus Julius De la Gardie commissioned architect Joseph Gabriel Destain to design the present palace, built in the 1720s.
The courtyard is open to the sea and took on its present appearance in the 1820s.
It is modelled on the garden of Logården at the Royal Palace in Stockholm.
In 1772, Tullgarn was acquired by the crown and became a royal residence.
Occupancy was granted to Duke Fredrik Adolf, youngest brother of King Gustav III.
Between 1778 and 1793, Frederick Adolf resided there with his lover Sophie Hagman, and many episodes from this period are preserved as the "Tullgarnsmminnena", The Tullgarn memories Frederick Adolf modernized the palace in neo classical style, adding another storey to the wings, giving the palace a flat Italian-style roof.
Fredrik Adolf's interiors are some of the finest examples of Gustavian style in Sweden.
Among the designers involved were Louis Masreliez, Jean Baptiste Masreliez, Per Ljung and Ernst Philip Thoman.
Many of the interiors created at that time remain today in their original form.
King Gustaf V (then Crown Prince) took over Tullgarn in 1881 and together with his consort Victoria, implemented extensive changes.
The main building was decorated more like a modern functional summer home then a royal pleasure palace.
Much of the present interior dates from the time of King Gustav V and Queen Viktoria, including the vestibule, whose walls are covered in hand-painted Dutch tiles.
The breakfast room is furnished like a south German "Bierstube", possibly reflecting the fact that Queen Viktoria came from Baden in Southern Germany.
The royal couple used the palace as their summer residence. 
The core of the building, much smaller than the present palace, dates back to the 16th century, as testified by a memorial plaque, now located in the hall.
The building was restored and enlarged in the 17th century, when it became the property of Cardinal Cesare Monti, who used the palace as the seat of his art collection.
At the Cardinal's death, his heir Cesare Monti-Stampa acquired the building and enlarged it again.
Architect Francesco Croce, most notably, designed the current rococo facade.
A secondary facade was added in the 18th century, on a design by Benedetto Alfieri, heading towards the palace's gardens.
In 1783 the palace was sold to Giovanni Pietro Paolo Andreani, a relative of the Sormani family, and was renamed "Palazzo Sormani-Andreani".
Giovanni Pietro Paolo and his heir Paolo enriched the building interior with stuccos (created by Agostino Gerli) as well as a series of paintings depicting the myth of Orpheus, by an unknown artist.
In 1930, the building was acquired by the Comune di Milano, that adapted it as an art gallery; this was dismantled after World War II, as a consequence of the palace being severely damaged by Allied bombings.
A new restoration (by architect Arrigo Arrighetti) followed, in 1956; thereafter, the palace was chosen as the seat of Milan's public library.