Venice.Projects 20. Olivetti showroom. Brion-Vega Cemetery San Vito d'altivole, Italy Carlo Scarpa cemetery. Ticket booth for the Venice Biennale

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1 Venice Projects 20 Created 19-Jul-12 By Grace Chang, Kaohsiung, Taiwan Brion-Vega Cemetery San Vito d'altivole, cemetery Canova Plaster Cast Gallery Madonna delle Lacrime Spazio Vedova Aula Mario Baratto Restoration Base for the 'Partigiana' by Augusto Murer Ca' Pesaro - Galleria d'arte Moderna Renovation Gallerie dell'accademia Renovation Palazzo Grassi Renovation 6 Ticket booth for the Venice Biennale 13 Entrance Faculty of Letters and Philosophy 14 Querini Stampalia bookshop & café 15 Bridge over Canal Grande 16 Venice, Santiago Calatrava bridge 7 D - Residential building in La Giudecca 17 Venice, Cino Zucchi housing 8 San Michele Cemetery Extension 18 Venice, David Chipperfield s cemetery 9 IUAV's main gate - Tolentini 19 Venice, education, university 10 Venice, Tadao Ando museum, renovation Former Slaughterhouse of San Giobbe Venice, Mario Botta cafe, museum, restaurant, shop Venice, museum, renovation 5 Venice, Boris Podrecca museum, renovation 12 Venice, education, university Venice, sculpture 4 Venice, auditorium, renovation, university Olivetti showroom Venice, kiosk Venice, Renzo Piano exposition space, gallery, museum 3 Siracusa, Andrault - Parrat church, museum Venice, shop, showroom Possagno, exposition space, museum 2 Palazzo Fondazione Masieri 20 Venice, memorial space, museum 11 Venice, Romeo Ballardini and Vittorio Spigai auditorium, university Querini Stampalia Foundation 21 Venice, exposition space, museum 1

2 photo: TomAs Martinez Vallerga photo: TomAs Martinez Vallerga Brion-Vega Cemetery Via del Cimitero San Vito d'altivole This is considered 's most important and complex work It has an astonishing detail and is mainly built in concrete, used in an incredible way There is an extensive use of water The architect said about this project: "I would like to explain the Tomb Brion I consider this work, if you permit me, to be rather good and which will get better over time I have tried to put some poetic imagination into it, though not in order to create poetic architecture but to make a certain kind of architecture that could emanate a sense of formal poetry The place for the dead is a garden I wanted to show some ways in which you could approach death in a social and civic way; and further what meaning there was in death, in the ephemerality of life other than these shoe-boxes" Scarpa died in 1978, in a construction site accident He is buried in this cemetery in a standing position in a well-hidden spot, within the interstitial space created by the walls of the old and new cemeteries photo: TomAs Martinez Vallerga 1972 Brion Family MVar 2

3 photo: Dave Brown photo: Dave Brown Canova Plaster Cast Gallery Via Canova Possagno When Antonio Canova died, Monsignor Giovanni Battista Sartori decided either to close the Study in Rome where many masterpieces were created or to move all the plaster casts, the unsold Marbles, the paintings, the Sketches and all what was in the warehouses, to Possagno In order to host all the above mentioned collections, Sartori arranged to build a Gallery, near the artist s native home This allowed the tourists and the scholars to admire all of Canova s works In 1832 Sartori charged the Venetian architect Francesco Lazzari to plan the construction of the "Collection of plaster casts" In 1957 Canova's work found a more adequate placing thanks to a new building constructed by the Venetian architect The tall cubic form of his addition admits light through windows in the top four corners of two connecting chambers, creating a luminous environment Unbroken walls without windows in the lower portions receive shadow-silhouettes of the plaster casts photo: Dave Brown 1957 Fondazione Canova MI_MOA The CANOVA PLASTER CAST GALLERY is open every day (except for Mondays) During the summer/winter months: / The box-office shuts a quarter of an hour before each closing time 3

4 photo: Wim Vullings photo: Wim Vullings Madonna delle Lacrime Viale Teocrito Siracusa To build the Shrine, as desired by the Bishops of Sicily, an international competition was held One hundred architects from 17 nations participated The winners of the competition were two French architects, Michel Andrault and Pierre Parat The upper temple, begun in 1989, was inaugurated November by His Holiness John Paul II The Shrine is about 103 meters tall (943 meters from the upper temple floor) and has -chapels excluded- a diameter of 7140 meters It can hold about people standing and about 6000 sitting The architects proposed to structurally represent the concept and the sense of the elevation of humanity towards God In fact, the plan with its circularity represents all of humanity, that little by little -thanks to the rising columns and the increasing light intensity- reaches up to God The immense and solemn hall is paved with precious marble which reproduces a star: Mary the Morning Star who announces the Rising Sun, Jesus [from the project s website] 1994 Andrault - Parrat Bishop of Sicily Wim_Vullings photo: Wim Vullings Daily 7:00 am 8:00 pm Visitors Centre: 900 am pm, 400 am pm Documentary Film: Sundays approximately 9:45 & 11:45 am, 12:45 pm; by appointment -contact the Secretarial Offices or Pilgrimage Service Free guided tours are available in Italian, English, French and Polish Reservations must be made ahead of time 4

5 photo: Paulo Simoes Spazio Vedova Sestiere Dorsoduro Venice Renzo Piano designed the conversion of the former studio of Venetian painter Emilio Vedova ( ), located in the former 'Magazzini del Sale', into a space to exhibit his works The proposal is an insert entirely made from brushed larch slats, carefully placed inside the existing space, whose brick walls and roof trusses were left exposed The insert is composed by two walls that mark the entrance and house the service spaces, and an inclined floor raising from the entrance to the back of the warehouse, where a metallic structure stores Vedova's paintings At predetermined hours of the day, ten robotic arms hanging from a rail running along the ceiling make a kind of mechanical choreography, taking the works from the storage structure and placing them on display throughout the space photo: Paulo Simoes Floor area/size m² Renzo Piano Fondazione Emilio e Annabianca Vedova void Wednesday - Sunday: The three series of works by Emilio Vedova will alternate at 1140 / 1310 / 1440 / 1610 & 1740 Vaporetto: Line 1: Accademia or Salute stops Line 2: Accademia stop Lines 51 or 52: Zattere stop 5

6 photo: Paulo Simoes photo: Paulo Simoes Aula Mario Baratto Restoration Dorsoduro Venice worked on two different projects for the Ca' Foscari University, the first one from 1935 to 1937 and the second one from 1955 to 1956 The first project was the complete restoration of the building, with its most visible traces now being the ground floor hall, glazed on both opposite ends for views of the grand canal and the courtyard, the staircase and parts of the main lecture hall The second intervention focused on the lecture hall (Mario Baratto Room) and created a complex wooden structure, separating the entrance space from the room This structure was made with wood from a demolished tribune belonging to the first project that stood in the same place In 1979, the room was destroyed by fire but was later rebuilt to Scarpa's design photo: Paulo Simoes 1956 Ca' Foscari University void Tours: Monday, Thursday and Friday: 1130 Monday to Friday: 1600 Meeting point on the ground floor of Ca Foscari Vaporetto Line 1 - S Tomà or Ca' Rezzonico Line 2 - S Tomà 6

7 photo: Paulo Simoes photo: Paulo Simoes Base for the 'Partigiana' by Augusto Murer Viale dei Giardini Pubblici Venice In 1968, Scarpa designed the base for a sculpture by Augusto Murer, representing the 'partigiana' The sculpture represents a woman, lying with her hands tied, and was placed on a platform floating on the water The base is made from concrete with copper plates, and is surrounded by an irregular 'field' of concrete and stone prisms with varying heights photo: Paulo Simoes 1968 Comune di Venezia void 7

8 Ca' Pesaro - Galleria d'arte Moderna Renovation Santa Croce Venice In 2005, Boris Podrecca completed the redesign of the interior of the Museum of Modern Art of Venice, situated within the Ca' Pesaro palace, a building from the seventeenth century The intervention is visible especially at ground floor: a new bar and a nice courtyard with a peculiar well are the most interesting features The rest of the intervention uses iron, stainless steel and glass as the main materials for presenting the artworks A new staircase, made of steel and glass, is placed to allow extra access to the building offices Interior architect Boris Podrecca Comune di Venezia lmattozz Tuesdays - Sundays: / Closed on Mondays Get off at S Stae boat station and walk towards Rialto 8

9 Gallerie dell'accademia Renovation Campo della Carità Venice The Gallerie dell'accademia is the museum gallery of pre-1800s art in Venice Between 1945 and 1959, has worked on restoring the building and setting the new exhibition area His intervention is delicate and consists essentially of small elements such as new stairs, new holding panels for the paintings and new standing panels to guide the visitors Interior architect Comune di Venezia lmattozz Mondays: / Tuesdays - Sundays: Get off at Accademia boat station 9

10 Palazzo Grassi Renovation Campo San Samuele Venice Palazzo Grassi was restored in 1983 by Gae Aulenti in order to hold art and historical exhibitions for the Agnelli family In 2005, the building was bought by François Pinault who called upon Tadao Ando to renovate the setting in order to display his modern and contemporary art collection Ando's intervention is delicate and done mostly with light, white marble stucco and grey linoleum The whole is conceived to set a soft tone around the rich original decoration of the building elements , Interior architect Tadao Ando lmattozz François Pinault Wednesday to Monday: / Closed on Tuesdays Get off at San Samuele boat station 10

11 photo: Renato Dalla Venezia photo: Renato Dalla Venezia Former Slaughterhouse of San Giobbe Fondamenta di Cannaregio Venice This project entailed the complete preservation of the nineteenth-century slaughterhouse of San Giobbe, with a sequence of building interventions to reintegrate the whole area with its old buildings and its ancient streets, traces and layouts, all of which have important historic value The structure of the nineteenth-century warehouse was safeguarded and all the new parts inside the buildings were designed to have a light metallic structure, different from the compact walls of the ancient buildings Therefore they are distinct from the older ones and clearly legible as new modern internal structures photo: Renato Dalla Venezia 2008 Romeo Ballardini and Vittorio Spigai Ca' Foscari University Venice elenaorzali There are two boat stops near the slaughterhouse: Tre Archi (line 52) and Crea (line 42) 11

12 photo: Dave Brown photo: Dave Brown Olivetti showroom Piazza San Marco Venice The "first Italian typewriter factory" was founded by Camillo Olivetti on 29 October 1908 It had 20 employees and a 500 sqm production workshop with a weekly output of about 20 machines Over the years Olivetti has undergone a series of transformations It moved from mechanics to electronics, from office products to computers, IT systems and services and telecommunications and has always distinguished itself in its ability to combine dedication to technological innovation with a strong commitment to culture and art as well as product quality and design In addition to factories and office buildings, the company's architectural achievements also include a number of Olivetti shops: on New York's Fifth Avenue (1954), designed by Belgiojoso, Peressuti and Rogers;; in Paris (1960), on Faubourg St Honoré, designed by Franco Albini; in Buenos Aires (1968) designed by Gae Aulenti and here in Venice (1959) created by Venice born designer photo: Olivetti Historical Archives 1958 Olivetti Group MI_MOA 12

13 Ticket booth for the Venice Biennale Viale Trieste Venice Conceived for the XXVI Venice Biennale art exhibition, the ticketing booth at the entrance of the Giardini Pubblici is a tiny work of art The booth was finished in 1952 and was used for many decades It was completely restored in 2004, although it is no longer in use The little booth is conceived as a small pavilion in itself mixing concrete, iron and wood La Biennale di Venezia lmattozz Get off at the 'Giardini' boat stop and walk towards the entrance of the Biennale 13

14 photo: Dave Brown photo: Dave Brown Entrance Faculty of Letters and Philosophy Dorsoduro Venice The entrance to the faculty of philosophy in Venice was designed between 1976 and 1978 by Venice born architect It was completed posthumously Scarpa died on the 28th of November 1978, in Sendai in the north of Japan, following an accidental fall from a staircase So ended the creative life of one of the Masters of 20th century architecture His architecture is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination and has been widely praised from Tadao Ando to Mario Botta He was Botta's thesis adviser along with Giuseppe Mazzariol -- the latter was the Director of the Fondazione Querini Stampalia when Scarpa completed his renovation and garden for that institution (also published on MIMOA) photo: Dave Brown 1979 MI_MOA Ca'Foscari University, San Sebastiano View route details here:

15 photo: Apollo Spiliotis photo: Fondazione Querini Stampalia Querini Stampalia bookshop & café Castello Venice Situated in the redesigned public areas on the ground floor of Palazzo Querini Stampalia Mario Botta set up the bookshop of the Foundation and a cafeteria The bookshop offers first publications on collections and exhibitions of Querini Stampalia You may also find a careful selection of books on contemporary, design and photography Qcoffee, the cafeteria, opens onto a garden, designed by in the late fifties The cafeteria offers each day its catering services to those attending the Library, visit the Museum, participating in various activities of the Foundation or simply want to enjoy a break in an uncommon area One quick snack or a working lunch, a cocktail or dinner thus becomes the occasion for a special experience, a journey between architecture and contemporary tastes photo: Fondazione Querini Stampalia Mario Botta Fondazione Querini Stampalia MI_MOA Museum exhibitions: Tuesday to Saturday 10 / 20; Sunday and holidays 10 / 19; closed Monday Library and Emeroteca: Tuesday to Saturday 10 / 24; Sunday and holidays 10 / 19; closed Monday Bookshop: Tuesday to Saturday 10 / 2015; Sunday and holidays 10 / 1915; closed Monday Cafeteria and Restaurant: Tuesday to Saturday 10 / 2345; Sunday and holidays 10 / 19; closed Monday 15

16 photo: Judit Nyíri photo: Jennifer Lohr Bridge over Canal Grande Piazzala Roma Venice Until 1854, when the first Accademia bridge was built, the only place you could cross the Canal Grande was at the Rialto The last major bridge construction was on the Scalzi in 1934 So it was big news, when was decided in the 1990s to give the town a new, fourth crossing The bridge is designed by Spanish architect Santiago Calatrava, and has for now taken his name: Ponte di Calatrava The pedestrian bridge is a long sweeping form of glass and steel accessed by steps In August 2007 the central section of the new bridge was ferried down the Grand Canal It will be finished in the summer of 2008 It has been a controversial project from the start; criticised as an expensive, unnecessary and misplaced vanity project And there are apparently serious issues about its accessibility to the handicapped Calatrava did not want to burden the design aesthetics with unsightly wheelchair ramps The council promised hi-tech lifts, but it's not clear if these have even been designed yet photo: Sara Bernardi Santiago Calatrava Municipality of Venice MI_MOA 16

17 photo: Cino Zucchi photo: Cino Zucchi D - Residential building in La Giudecca Calle delle Scuole Venice The new residential construction stands in the place of an existing building at the junction between two canals, preserving its smokestack as a document of the industrial past Its cubical mass is excavated on the South side by a trapeze white-stuccoed court, an intimate space which leads to the only vertical distribution If the materials and techniques used are very traditional, subtle alterations in their detailing reveal the impossibility of an historicist replica The traditional white Istria stone corniche which borders the windows of the minor Venetian historical architecture is transfigured into a graphic motif, working on the different depths of the windows given by the different obscuring devices This project is part of a larger urban plan on the island La Giudecca by Cino Zucchi s (also published on MIMOA) photo: Cino Zucchi Public access unknown! Floor area/size m² Cino Zucchi Judeca Nova SpA 17

18 photo: Mieke Vullings photo: Mieke Vullings San Michele Cemetery Extension San Michele Venice Venice s principal cemetery San Michele is located on an island between Venice and Murano The design redefines some of it's original physical qualities In the 1st phase the current burial grounds are complemented by the construction of a series of new courtyards and a chapel The first courtyard is a prototype and opened to the public in September 2007 It's called the courtyard of the four Evangelists : basalt-clad walls and pavements with inlaid text from the four Evangelists gospels and a black exposed concrete colonnade The second phase is the construction of a new island, parallel to the existing cemetery but separated by a canal It will feature tomb buildings, conceived as simple sculpted blocks, together with a series of gardens at water level Unlike the remainder of San Michele, which is higher above the water line and surrounded by a wall, this new island seeks to create a more open, accessible monument providing a greater sense of place and context within the lagoon photo: David Chipperfield s Floor area/size m² Services engineer Structural engineer Associate architect Services engineer Landscape designer David Chipperfield s ARUP Jane Wernick Associates SSSR Associati Studio Associato Vio Wirtz International Comune di Venezia David_Chipperfield The part of the cemetery by Chipperfield lies on the north-eastern corner At arrival with the ferry (on the western side of the island), cross the island to the east 18

19 photo: Jiat-Hwee Chang photo: Dave Brown IUAV's main gate - Tolentini Santa Croce Venice The Tolentini premises are located near Piazzale Roma and was designed by Vincenzo Scamozzi in the sixteenth century and restored by Daniele Calabi in the early 1960 s The convent is recognised for its particular architectural components: cloister with columned porch, a first floor with cells on three sides, and a meeting hall at the margin of the cloister The second floor contains larger open spaces and a rare example of a 15th century walkway perhaps designed by Scamozzi The convent was closed by Napoleon in 1810 and has since been used for various purposes In 1958 the State Property Office made the building complex available to the IUAV and initiated certain works which were led by civil engineers The restoration work on the complex s interior took place between 1960 and 1965 under the direction of architects Daniele Calabi and Guido Bacci In 1985 the entrance way, acquired by gratuitous transfer in 1979, was transformed according to the project by photo: Jiat-Hwee Chang 1985 Structural engineer Project manager Carlo Maschietto Sergio Los MI_MOA 19

20 Palazzo Fondazione Masieri Dorsoduro Venice In 1968 was asked to make a project for the Masieri Foundation It was not until 1973 that the project was approved by the City Council and it forced him to keep the original façade and exterior of the palace facing the Grand Canal The façade is in fact detached from the floors, through spacial cuts The interior was completely renovated and new materials as concrete and steel were introduced After Scarpa's death, which occurred in 1979, the work was completed by some collaborators The Palace was finally inaugurated in 1983 Project is not public! Interior architect lmattozz Get off at STomà Vaporetto Station After Calle del Vaporetto turn left, cross a bridge and walk for 20 metres 20

21 photo: Apollo Spiliotis photo: Apollo Spiliotis Querini Stampalia Foundation Castello Venice The Foundation Querini Stampalia was founded in 1869 by the will of John Conte, the last descendant of the family of Venetian patrician Querini Stampalia It is the only example where, of an ancient family, they preserved heritage, home, library, archives, collections of art, furniture and furnishings The sixteenth century palace, located between Rialto and San Marco, houses a library, civic center and historical museum The ground floor and garden were redesigned by in the early 60s Recently Mario Botta has designed the new access, bookshop and cafeteria (See also on MIMOA) The Foundation organizes exhibitions, conferences, meetings, seminars and collaborations with organizations and companies, some of which are associated with the Circle Queriniano - The members of the Circle support actively the life of the Foundation by participating in the development and growth of its activities and its archival collections literature and art) photo: Apollo Spiliotis 1963 Fondazione Querini Stampalia MI_MOA Museum exhibitions: Tuesday to Saturday 10 / 20; Sunday and holidays 10 / 19; closed Monday Library and Emeroteca: Tuesday to Saturday 10 / 24; Sunday and holidays 10 / 19; closed Monday Bookshop: Tuesday to Saturday 10 / 2015; Sunday and holidays 10 / 1915; closed Monday Cafeteria and Restaurant: Tuesday to Saturday 10 / 2345; Sunday and holidays 10 / 19; closed Monday 21