amputation and graft Vol.1 - VENICE

amputation and graft vol. 1 amputation :

VE NI CE 1

A cura di Alejandra Esteve, Alexis Schachter & Anna Serio

Preface This book is part of a three-book publication that took form during the 21st edition of the Wave Summer Workshop at the IUAV University in Venice. It aims to summarise and collect the work of the 81 students in the WS_17 workshop led by Arch. Alexis Schachter, together with Alejandra Esteve and Anna Serio.

The idea of the workshop was to create a new connection between the South American culture of Buenos Aires and the city of Venice by suggesting different ways of operating in the urban context.

We proposed the theme: amputation and graft.

Before being ready for their architectural graft, the students spend some time studying both the city of Buenos Aires and the city of Venice. This investigation work can be found in volumes 1 and 2, while volume 3 presents the student’s proposal for the city of Venice.

We would like to thank the students for their work and dedication and the wave staff for giving us this unique opportunity and helping us out when we were in need.

Finally, a special thanks go to the guests who participated in this: Professor Roberto Lombardi from the University of Buenos Aires, Architect Juan Cruz Acevedo Diaz from PIEZA practice and Ignacio Fleurquin from BULLA practice.

2

Amputation and graft.

In Botany, the idea of the graft that appears from cutting gives place to fantasizing with hybrid species, in which the potency or resistance from one accompanies the growth of the other. In Architecture, the idea of grafting something that has been amputated can give place to imagining ruptures in the inertia of traditions and cultures, creating an open platform for debating the future of the problems of cities and buildings.

From the American point of view, Venice and its imaginary universe appear as untouchable and fragile. Its buildings, eternal. Americans, tourists. From the Venetian point of view, how does Buenos Aires or any other Latin-American metropolis appear?

Cities in which urban transformation happens faster than any other plan, and the self-management of habitat seems to do without Architecture as a discipline.

Could a Latin American architect think in Venice? Could an architect formed in Venice think in Buenos Aires? Furthermore, if so, which disciplinary hybrids would result in such incursions?

The workshop proposes to set an exercise of project exchange between these cultures, starting from the problem of the University Campus, to understand which hybridizations can exist between both as sources of new visions and possibilities.

Several friends of the Monoblock office and colleagues who are thinking about the future of cities and the consequences that those visions can have in Architecture, together with students of the universities of Buenos Aires in which we are teachers, partecipaded in the workshop, exposing their experiences and opening moments of intercontinental debates.

3

4

Venezia: a subjective catalogue of urban typologies

5

6

7

centipede building 1 GIUDECCA APARTMENT BLOCKS Venice Gino Valle 1980

The building’s ground attachment to the north, set back from the side ends, can be crossed until reaching the courtyard inside the fabric of houses, a sort of closed campiello, the protected and introverted heart of the neighborhood.

Located in the southern part of the Giudecca island in Venice, behind the former Stucky Mill, the IACP complex designed by Gino Valle presents an aggregative principle with a decreasing number of floors, from 4 to 2, proceeding from north to the south. This guarantees every apartment a view of the lagoon, favoring sunlight in all the dwellings and the open spaces between the houses. On the east and west fronts, the intervention is enclosed by two 4-storey continuous buildings.

Without relying on vernacular or folkloristic references, also materials and colors are chosen to establish a dialogue with the lagoon environment: soft pink bricks for the cladding and the structure, reinforced concrete on the face for some structural framing elements, beams, slabs and arched bases in the manner of Khan, colored plaster coating for staircase blocks, and roof tile for pitched roofs.

Gino Valle demonstrates a great sensitivity for the place and for the relationship between design and construction, creating a compact but flexible fabric that considers the traces of the old demolished industrial building. At the same time he pays tribute to Venice’s urban character with its dense settlement and its clear hierarchies of open spaces or porticoes.

At the main entrance, the building floats on repeated columns that create an original use of space. The structure becomes permeable in the way it opens to outer space.

8

SIDE VIEW 9

water raid 2 FONDAZIONE QUERINI STAMPALIA Carlo Scarpa Venezia, Italia XVI secolo, 1961 - ’63

In 1949 the Presidential Council of the Querini Stampalia Foundation decided to begin the restoration of some parts of the Palace. The restoration, entrusted to Carlo Scarpa, was carried out ten years later under the direction of his friend Giuseppe Mazzariol. The work consists in arranging a part of the ground floor and the garden at the back of the building that are in a state of neglect and decay because of the continuous invasions of sea water.

Mazzariol intervened on the ground floor and in the open space behind, designing rooms for exhibitions, conferences and other initiatives in order to encourage the organization of cultural activities.

Scarpa’s restoration work was realized thanks to a measured combination of new and ancient elements and to the mastery in the use of materials. Water remains the protagonist, too: it enters from the canal on which the palace overlooks to the inside through the bulkheads along the walls until it reaches the garden where there is a large multi-level basin made of copper, concrete and mosaic. The water is conveyed into a small canal at the ends of which there are two labyrinths carved in alabaster and Istrian stone. So Carlo Scarpa’s restoration focuses on four important elements: the bridge, the entrance with the barriers to defend against high waters, the portego and the garden.

Nowadays the building of the Querini Stampalia Foundation includes a museum, in which furnishings of ‘700 and ‘800, porcelain and sculptures belonging to the Querini family are preserved. In addition, inside a picture gallery and the civic library of the historic center were established.

The Querini Stampalia Foundation was founded in 1869 due to the will of Count Giovanni, who was the last descendant of the Venetian patrician family Querini Stampalia.The palace, which houses the Foundation, is situated in the heart of the city of Venice in the Castello district, at the south end of Santa Maria Formosa.

The building of sixteenth-century origin consists of four floors; its façade is characterized by two fourlight windows with balcony, each on the first and second floors, and by single-lancet windows on their sides. Over the following centuries, the house had been enriched with embellishments and renovations carried out by steps without a unitary project, through partial interventions.

10

AXONOMETRY 11

inside - out 3 PALAZZO GRIMARI Jacopo Sansovino Venezia Mid XVI century

of Cardinal Domenico Grimani and Giovanni, patriarch of Aquileia, who also donated of substantial parts of their collections to the Republic, forming the basis of the birth of the public statuary of the Serenissima.

The project in question is an important Renaissance palace in Venice overlooking the Rio di Santa Maria Formosa, now used as a museum.

The historical-artistic aspect of the monument reflects the taste and cultural policy of the Grimani family who played their social, economic, political fortune, right between the two fundamental centers of Venice and Rome.

This makes Palazzo Grimani unique in the Venetian context, comparable in cultural importance, while distinguishing between private and public commissions, to the works of Jacopo Sansovino for the area of Piazza ​​ San Marco, for the realization of which, moreover, it was fundamental to contribution of this family.

Palazzo Grimani was the home of one of the most important families of the Venetian patriciate until the mid-nineteenth century.

Originally owned by Antonio Grimani (doge from 1521 to 1523), the current building is the result of architectural interventions carried out between 1532 and 1569 commissioned by the heirs, Vittore, procurator of San Marco, and Giovanni, patriarch of Aquileia.

Above all, the latter intervened directly in the design, but above all by using Sebastiano Serlio directly in the project. The result is a very valuable and admirable architecture that blends elements of the Venetian tradition and the Tuscan-Roman one: among others, the evocative environment of the tribune with the truncated pyramid skylight is striking. The fusion of different artistic cultures is also found in the marvelous pictorial decorations of the staircase and of the rooms on the first floor, where painters such as Federico Zuccari, Francesco Salviati, Lambert Sustris and Camillo Mantovano worked, but above all the stuccos of Giovanni da Udine, a pupil of Raphael that create illusory games generating an effect of “architecture within architecture” .

The palace housed the art and archeology collections 12

PLAN AND FACADES 13

CAMPO SAN POLO Italy 10th century

Campo San Polo is the largest campo of the city and the largest public space after San Marco square. It is named after the Church of San Polo, built there in the ninth century. Its curvilinear shape is due to the path of a stream, buried in 1761, which ran along the eastern side. It was paved in 1493 when it was used as a market square and a place for public events and parties. Although it has always been considered a popular square, since games and tournaments were held here, this square is surrounded by noble palaces: Palazzo Bernardo, Palazzo Soranzo, a part of Palazzo Donà and Palazzo Corner Mocenigo.

REALIZZATO CON UN PRODOTTO AUTODESK VERSI

urban void 4

The history of the camp is also linked to many vicissitudes, legends and events. An example is the death of Lorenzino De’ Medici, stabbed in 1548. The camp hosts, in addition to the Church of San Polo and its bell tower, a classic well. In a densely built city like Venice, the campos represented an urban void that can contain the community life of the city and, in the past, another fundamental functionfor life: the water supply.

To compensate for the lack of drinking water which aggravated after 812 with the population increasing, venetians invented a new kind of well, which worked as a cistern for the rain water.

The base of the real is divided by sixteen sides and three steps and the cover is composed of a convex metal plate.

O AUTODESK VERSIONE PER STUDENTI

The campos were dug as large clay-lined pools where water was collected and filtered through layers of gravel and sand. The well was in most cases located in the center of the field, because the water coming from the drainage of the surrounding roofs, reached the ground and penetrated through the hollow manholes reaching the base of the well. The wells became a real constant and characteristic element of the urban furniture of Venice, the so called “vera da pozzo”: initially they were very simple, often made of brick or even obtained by puncturing capitals or drums of Roman columns.

Only later they did reach remarkable aesthetic levels, as in the case of the true well of Campo San Polo: the structure stands in Istrian stone and has an octagonal shape. All its sides are defined by writing and a bas-relief depicting a Marcian lion.

14

PLAN 15

asymmetric speculation 5 PALAZZO FLANGINI Giuseppe Sardi Venezia 1664 - 1682

The reason for this missing wing is because the Flangini family never managed to buy the adjoining house because they lacked the funds.

While the story in which it is said that the palace was inherited by two brothers in serious discord between them is only a legend and that it was demolished by one of the two of the half that was due to him, to spite the other.

Palazzo Flangini was built in the seventeenth century by the architect Giuseppe Sardi, it has a long and narrow facade but the asymmetry of the facade is clearly visible.

The asymmetry of the facade can be seen from the water portal moved far to the left and the absence, on the right, of a fifth opening of the multi-lancet window and the more lateral single-lancet window, it is also noted that the column of the four-light window is only half a column.

The main facade facing the Grand Canal, has a subdivision into three orders to give it a sense of symmetry, with a water portal decorated with two male figures languidly resting on the arch, two noble floors with single and four lateral windows supported by semi-columns composite and Ionic which are joined by continuous balconies and decorated with arched heads.

Inside it preserves architectural elements of great value together with precious decorations of the eighteenth century. The portego is completely displaced to the left.

The main feature is the asymmetry, in fact the right wing is completely missing, the elevation appears high and asymmetrical in the arrangement of doors and windows.

16

FACADE 17

genesis from the lines

6

CHIESA DI S. STEFANO Venezia XIII-IVX secolo

In the IVX century the church was completely rebuilt using structures and decorations typical of the Venetian flowery Gothic. Three naves on columns support the ship’s hull ceiling and the sacristy, where we find precious works of Renaissance art including three large paintings by Tintoretto. As in Buenos Aires the medianeras are orthogonal to the streets even in Venice the walls that shape the buildings are found radially respecting the streets of urban traffic. So, analyzing the urban layout, as an analogy with the case study of Buenos Aires, we found a genesis starting from pre-existing paths that form grafts: the church of S. Stefano, in San Marco, is an example.

The city of Venice develops orthogonally to the course of the canals which delimits the organic cells called insule and within these islands, the walls that make up the buildings are the guidelines in the design of the entire city. The Church of St. Stefano, linked to the adjacent monastery and the homonymous field, is formed from one of these pre-existing walls that guide the development of the building in length.

The church, begun by the Hermits of Sant’Agostino in 1294, was profoundly modified at the beginning of the fourteenth century when the presbytery was extended due to a bridge that, with a unique solution in Venice, crosses a river and supports the apse. The façade was enriched with a marble portal, probably a work of Bartolomeo Bon (1438-1442), and the bell tower was built, one of the highest “hanging bell towers” in Venice (66 meters high and an inclination of 2 meters). This church, compared to other religious buildings, shows that it accepts the Venetian construction tradition, since it used local workers and manifests a language in line with the structural logic of Venetian buildings that must be light to avoid excessive loads to be discharged into the muddy and deformable ground. Another feature of this church is the progressive well-calibrated reduction of the width of the naves.

18

AXONOMETRY 19

broken pace 7 PALAZZO CORNER LA CA’ GRANDA Jacopo Sansovino Venice, Italy 1532 Ca’ Corner is a Renaissance palace designed by Jacopo Sansovino in 1532. The building is located in Venice in the San Marco district and overlooks the Grand Canal.

The building is the current headquarters of the Metropolitan City of Venice and the Prefecture.

In the plan, the building does not occupy the entire area of the lot but has a representative courtyard adjacent to the building which is accessed from the ground door and an internal patio to the north characterized by a portico.

The subdivision of the interior spaces follows the Venetian tradition so that on the ground floor there is a service area with an entrance and warehouse.

On the first floor there is the noble floor with in the center the passing hall with semi-public functions and on the sides of the hall reside the residential functions of the family, namely the kitchen, the bedrooms, the private lounges.

The peculiarity of the interior of the building lies in the fact that compared to the internal layout of the Venetian buildings, the service area changes, there are mezzanine floors on the sides of each floor.

In this palace Sansovino chooses to divide the unusual height of the noble floors with service

mezzanines in the side parts, thus distinguishing the very high reception spaces from the private ones in which to live.

The palace has a very detailed facade on the Grand canal, divided into three orders and around the courtyard. The architect chose to decorate the lower area with ashlar, while the upper floors are characterized by a series of arches that amplify the chiaroscuro effect of the building.

On the first floor there are arches with balustrades and pairs of Ionic columns, while on the second and last floor there are arches with balustrades interspersed with pairs of Corinthian columns that support the entablature with elliptical windows inserted in the frieze.

The originality of Ca Corner resides first of all in the front overlooking the Grand Canal, which is refined and detailed compared to the other fronts which are more bare and less captivating and secondly in the presence of the private courtyard adjacent to the building overlooking the Grand Canal.

20

AXONOMETRY 21

roofing the water 8 ARSENALE DI VENEZIA GAGGIANDRE Venezia 1568

lagoon. The name Gagiandra seems to refer either to the similarity of the shape of the cover to the cuirass of the tortoises (“gagiandre” in Venetian dialect).

The restoration works, carried out by the Soprintendenza in 1994, involved the wooden roofs, the supporting walls and the stone parts. Due to the spectacular architecture and the relationship with water, over the years, several artists and architects participating in the International Art Exhibitions and International Architecture Exhibitions, have created their installations here.

The Arsenale di Venezia is an ancient complex of shipyards and workshops that makes up a very large part of the island city of Venezia (48 square hectares). It was the heart of the Venetian naval industry starting from the 12th century and is linked to the most flourishing period of the life of the Serenissima.

Over centuries of history the names of spaces and buildings have been stratified on the places of the Arsenale. Some of these names refer to the construction phases of the complex, others to the morphology of the places, others have kept the memory of the work carried out there.

A

I

S

A

O

GIN

N E

R

O

LA

M

O

P

G

R

VER

T

LE

E

DEL

I

RIO

san pon te dan iele

ram

o san

dan

iele

GEROLAMO

STR ETT A

The Gaggiandre are two imposing aquatic canopies built between 1568 and 1573 in the Darsena Novissima and used as a shelter for rowing galleys that did not require masts. The overall size of the structure is somewhat unusual: the trusses of almost 25 meters, resting on three rows of arches and squat pillars with ashlars in Istrian stone, are among the largest in the LARG A

SA CAM N PI PO ET RO

- R IE

LL

O

CALL E

O

ELL O ERCO

CAL LE DEL TERCO

S A N

RI

SALIZZA DA

-

SAN

DE

SA N

DA NI E

LE

PO NT E SA N PI ETRO

22

SECTION 23

filling the gap 9 PUNTA DELLA DOGANA Giuseppe Benoni\Tadao Ando Italia 1682

The building for its cultural, historical and morphological character is one of the most important architecture of the city of Venice. Thanks to its tip begins the bifurcation of the two main navigable canals of Venice: Grand Canal and Canal of its giudecca, which define the particular shape of the city.

Its particular triangular shape, seemingly symmetrical, is perceived in various cases unlike the triangular architecture present in other cities such as the Kavanagh Building in Buenos Aires, thanks to its central position with respect to the island. The observer does not perceive it when it flanks the architecture, but when it reaches the end of the foundation or museum and is at the tip, surrounded by water, living the impression of being on an island within the island and perceiving the end of a path that can only be lived in its opposite sense.

The area of Punta della Dogana is characterized by the Dogana del Mar, a building that from the fifteenth century onwards was the commercial outpost (previously the border crossing was located at the Arsenale). The building was completed in 1682, thanks to the work of the architect Giuseppe Benoni, and is characterized by a triangular shape, at the tip of which there is a tower surmounted by a sculptural group, representing two atlases that support a large sphere.

The activity of crossing the border continued here until the 80s, after which the large building fell into disuse, until 2009 when it was reborn as a museum center, or center of contemporary art connected to Palazzo Grassi, where part of the Pinault collection is on display and where temporary exhibitions alternate. It is the François Pinault Foundation that in 2007 took care of the recovery of the former customs office, entrusting the imposing restoration work to the architect Tadao Ando. . The complex of Punta della Dogana is a triangular-shaped factory between the Grand Canal and the Giudecca Canal. Its arrangement consists of a sequence of eight structural spans, defined by masonry partitions, which function parallel to the base of the isosceles triangle on which the program is set; the roofs are supported mainly by wooden trusses that follow each other very quickly.

24

AXONOMETRY 25

mobility on the facade 10 SCALA CONTARINI del BOVOLO Giovanni Candi Venice, Italy 1490

The motif of the arches on columns recalls the Tower of Pisa.

When you stay at La Scala Contarini del Bòvolo in Palazzo Contarini, you’ll be close to Campo Manin. Architect: Giovanni Candi who built it around 1499.The tower is 26 meters high, the wooden roof that is inside the dome is from 1874.

Palazzo Contarini is a Gothic building, built between the three and the fifteenth century as the residence of the Contarini “of San Paternian”At the end of the fifteenth century, in fact, Pietro Contarini decided to add this staircase to the interior facade of the building.

It is said that Pietro Contarini had this staircase built because he wanted to reach his bedroom on horseback.

On April 2, 1859, Wilhelm Tempel, from the tower’s belvedere, discovered with his telescope the comet C / 1859 G1, and on 19 October 1859 the Merope Nebula of the Pleiades.

Giovanni Candi created an imposing and elegant work at the same time, modernizing the Gothic style with the Renaissance novelties.

Hhile the shape recalls Venetian-Byzantine architecture.

From the Gothic, the building takes up the lightness of the openwork loggias and the decisive ascending sensation of the cylindrical tower, inside which the spiral staircase winds.

The Scala consists of the fusion of a cylindrical tower and a loggia, characterized by twelve Renaissance arches, three on each floor.

Note that the arches decrease in height at each climb, up to those on the top floor that are half of those on the ground floor, creating a feeling of grace and lightness.

26

AXONOMETRIC CROSS SECTION 27

hidden water 11 UNITÈ DE BATISSE X Le Corbusier, Jullian de la Fuente Venice 1966

The chapel inside the unbuilt New Venice hospital was initially conceived as an independent hermetic cubic volume. It was later moved toward Cannaregio, overlooking the wide horizon of the lagoon, in front of the pilework. From inside the historic city of Venice, the chapel appears behind the dense forest of columns that supports the hospital.

The New Venice hospital is an unbuilt project by Le Corbusier, in the site of a former slaughterhouse in San Giobbe neighbourhood in Cannaregio. After Le Corbusier’s death, Guillermo Jullian de la Fuente, leader of the project’s preliminary design team, was appointed to lead the team through the completion of the building.

The position of the chapel also allows the addition of a covered docking point for the hearse boat, from where funeral processions make their way to the cemetery. Dominated by the large skylight above the altar, the interior is an evocative space thanks to one particular feature: there are walls 1.80 m high, detached from the perimeter walls, which leave space for an empty cavity. The result is an introverted space where you can perceive the presence of the moving water not directly, but through the sound from below, and the reflected light on the walls.

The hospital was conceived as a network of interconnected modules clustered around a number of square courtyards, a clear analogy of Venice’s traditional urban fabric. Like the rest of the city buildings, the new hospital was supported by a number of piles driven into the Venetian silt.

Referencing to his own design canon, Le Corbusier chose to perch the hospital atop a grid of his trademark concrete pilotis. The new hospital would extend the urban fabric, freeing itself from the artificial and natural boundaries.

28

VERTICAL SECTION 29

modernity and tradition

12

CASA ALLE ZATTERE Ignazio Gardella Venezia 1958 Casa alle Zattere is a project by the architect Ignazio Gardella in Venice and successfully represents an example of dialogue between ancient and modern.

The building fits in in the venetian context in a delicate way, but doesn’t give away it’s identity. It’s a really good project created by an architect who made the balanced synthesis of empiricism and rationality his stylistic code.

The wise game that the building plays with the ancient surrounding makes the complex coherent.

Here Gardella shows his skill in the mastery of volumes. The main effect is contraposition between the central body and the more dynamic secondary elements: balconies and asymmetric windows.

The resolution of the problem, therefore, is fitting and aspires to a “masked” coexistence of the house with the surrounding buildings, especially the church to which it is attached.

But is this the sole purpose of our intent? Is this the only way in which architecture in historical centers should move?

All things said, our main objective is that of bringing modern architecture in Italy. We’ll have to take on future related challenges in a smart and critical manner.

30

FACADE 31

confortable flows 13 CASE DI RESIDENZA SOCIALE NELL’AREA EX FREGNAN I. Cappai, P. Mainardis, V. Pastor Venice 1984

ture and a roof covering made of tiles, underlines the spiral shape of the plant. Located on the shore of the Sacca San Biagio canal, the longest building is characterized by the high portico that contains the foundation for the landing of small boats. This route, located at an appropriate level to allow the landing of small boats, passes under the new bridge - which connects Calle Larga Mario Brunetti to the bag to the south - connecting to it with two symmetrical ramps, located inside the southern porch.

The public routes, towards the bridge and along the foundation, are thus joined with the private space of the court.

The main load-bearing construction system, on pile foundations, has the same characteristics in both complexes: cross-sectional reinforced concrete, reinforced concrete slabs composed of prefabricated ribbed slabs and slabs cast in place.

The two complexes house 44 units on the first lot and 38 units on the second, divided into four typological groups, flexible in the layout of the premises according to housing needs and location in the body of the factory.

The fronts, punctuated by single and double lancet windows, marked by reinforced concrete pillars, are then horizontally punctuated by the creases that make up thelogical groups, flexible in the layout of the premises according to housing needs and location in the body of the factory.

The project is located in a re-emerging island of Venice: Sacca Fisola. The latter is connected to the island of Giudecca by a bridge.

The complex is also bordered by water. In fact, one of the two complexes is bathed by the canals of Lavraneri and Sacca San Biagio.

The buildings are configured with the same construction system but differentiated in their form, because of the specific characteristics of the sites on which they insist.

The first complex, finished in 1989, is organized around a central courtyard, overlooking the water towards the Giudecca, through double-height pillars that accommodate a series of quarries, places to moor boats.

The second, however, finished in 1998, develops with four bodies in line, 9 m high and 11 m deep, regularly arranged around a semi-open courtyard to the west, communicating directly and through windows with adjacent public spaces.

A single pavilion roof, with a laterocemento struc-

The fronts punctuated by single and double lancet windows, marked by reinforced concrete pillars, are then punctuated horizontally by the creases that make up the planes and architraves of the openings.

Existing trees are preserved and integrated.

The interesting aspect is the passage by water recreated under the residences. It puts the building in contact with water and thus relates it to the context.

32

MONOMETRIC AXONOMETRY 33

permeable concrete 14 OSPEDALE DI VENEZIA Le Corbusier Venezia 1965

This type of disposition is, although, not an obstacle as one may think at first, as there is plenty of space for patient’s rooms, with a natural disposal for expansion by adding more modules. Le Corbusier came up a unique solution, each patient receives a an individual cell with no windows to look out of. To preserve the sense of calm and isolation daylight streams from side skylights that regulate both intensity and temperature.

Le Corbusier presented the definitive proposal for Venice’s Hospital in 1965, a project that did not stand out from the rest of the city as a shameless Modernist landmark, but it utilized the existing urban vocabulary to appear as a seamless continuation of the old city, in an attempt not to emulate nor to destroy the old language, but to translate it. The hospital, based on Venice’s traditional urban fabric, was conceived as a network of interconnected modules clustered around several square courtyards. The inspiration to the fabric continues as Le Corbusier uses names like calle and campielli while referring to a multitude of sections inside the hospital. As usual for Venice the foundations are made of piles driven into the Venetian silt, this time made of concrete, namely the pilotis, instead of the traditional wood ones. The pilotis, in all their height, give free access to the waters right below the hospital so that it can be accessed both by water and from the land.

Unfortunately the hospital in San Giobbe was never built and only little drawings remain of it, nevertheless it surely made a huge impact on how to build in Venice, accounting both to its needs, strengths and weaknesses. With this project Le Corbusier showed once more that the surrounding, be it natural or artificial, should not be ignored but that it is as fundamental to the project as pillars, walls and ceilings are.

With a design well thought around theacutely hill and for emergency cases, expands horizontally instead than vertically.

34

MASTERPLAN 35

slope platform 15 SQUERO DI SAN TROVASO Venezia 1600 ca

The ‘‘squero’’ of San Trovaso is one of the oldest and most famous Venetian ‘‘squeri’’.

The ‘‘squero’’ (meaning “building site” in Venetian: from the word “squara” which indicates the tool used to build boats) is the classic workshop where small boats such as gondolas, pupparini, sandoli, s’ciopóni were built and repaired as other vessels typical of the Venetian naval tradition.

The squero of San Trovaso rises along the homonymous canal and dates back to the seventeenth century. It is one of the very few shipyards still operating in Venice, although today only gondolas are produced or repaired there, while in the past the shipbuilding activity was also extended to other types of boats.

The building that accommodates it has the typical shape of mountain houses, an exceptional circumstance for Venice, due to the inspiration of the squerarioli accustomed to working with wood and above all to the Cadore origins of many shipwrights.

36

AXONOMETRY 37

a bridge between cultures 16 BRIDGE OF THE REDENTORE Andrea Palladio Venice, Giudecca 1577-1592 It is traditionally the centerpiece of the great feast of the Redeemer(Redentore), celebrated on the third Sunday in July in memory of the escaped danger of the Plague that struck the city in 1575.

A temporary bridge, originally supported by boats, is built between Giudecca and central Venice, which is used by residents to reach the Church.

The façade of the Redeemer is an architectural manifesto of the principles described in his architectural books.

The Church has always belonged to the Capuchin Friars, which is why poor materials were preferred to build it: brick and terracotta covered with marmorino stucco to imitate marble.

The facade is an example of classical architecture, triangular gables and a rectangular attic show Palladio’s usual rigidity and rigor in design.

Bridge of the Redeemer: Every year since 1577, a temporary bridge has been created to connect the church to the city, allowing citizens to reach it and make a votive pilgrimage to the Redeemer, The importance is the symbolic significance The first bridge in 1577 was a group of boats placed side by side that allowed people to walk to the church Later the structure changed becoming made of Steel and wood , then decommissioned today there is a modular structure supported by floats.

38

ELEVATION AND PLAN 39

floating scenography 17 TEATRO DEL MONDO Aldo Rossi Venezia 1979

the colors and materials of the Venetian sea-theater. I liked this above all, its being a ship and like a ship undergoing the movements of the lagoon ... the theater seemed to me in a place where architecture ends and the world of imagination begins.”

- Aldo Rossi

The “Teatro del Mondo” was an artistic installation inaugurated in Venice in 1979, on the occasion of the 1980 Venice Biennale.

The theater was located in Punta della Dogana, on the Grand Canal, in front of Piazza San Marco.

Built with the awareness of its temporary nature, the Theater was built with a structure in steel tubes that can be easily assembled and disassembled, covered with a wooden plank, all resting on a barge

In the words of Rossi himself, the project and construction of this unusual and spectacular artifact is explained, which can also be read as the synthesis of the architectural concept of its author. Rossi’s architecture was characterized by the recovery of the past and memory, combined with avant-garde forms.

that allowed the work to float on the Canal and be carried from shore to shore. About 25 meters high, the main body consisted of a square-based prism of about 9.5 meters on each side, for a height of 11 meters, which could accommodate up to 400 people.

Near this prism, two symmetrically arranged stairwells about two meters higher than the central body; covering the latter was a pavilion with zinc flaps set on the octagonal drum, the ‘attic’ floor of the Theater surrounded by a perimeter terrace. On the top of the pavilion a sphere and a triangular flag closed the whole Aldo Rossi has taken up the typology of the floating theater that evokes the similar constructions of the eighteenth-century carnivals with stages sailing on the lagoon, temporary like Rossi’s own theater.

“This Venetian theater is linked to water and sky and for this reason it repeats in its composition 40

SECTION 41

architectural models:

42

GIUDECCA APARTMENT BLOCKS Venice Gino Valle 1980

STELLA ANESE, EMMA ASCENZI, IRYNA DZUNDRA, OLEKSANDRA KORZHAVINA, MATTEO SCARDUELLI 43

FONDAZIONE QUERINI STAMPALIA Carlo Scarpa Venezia, Italia XVI secolo, 1961 - ’63

ROXANA BONCA, MARTINA DEGRATI, MARTA GUZZON, ANGELICA MION, SOUFIAN NAZARIN 44

PALAZZO GRIMARI Jacopo Sansovino Venezia Mid XVI century

SYRIA BUSO, ALBERTO FLAMINIO, GIORGIA DI NATALE, MASSIMILIANO PASQUALI, MATTEO RIGATO 45

CAMPO SAN POLO Italy 10th century

CATERINA BORTOLETTO, FRANCESCA BRIGATO, SORANA MATEI, LUDOVICA RIGO 46

PALAZZO FLANGINI Giuseppe Sardi Venezia 1664 - 1682

MATTEO ABATE, THOMAS AMADIO, SIMONE BATTISTEL, CHIARA CATALDO, VINCENZO FERRI 47

CHIESA DI S. STEFANO Venezia XIII-IVX secolo

BEATRICE CAVALCANTE, CHIARA CHIERICO, VERONICA DI ODOARDO, THOMAS DI GIOVANNI, GIACOMO FARALLI 48

PALAZZO CORNER LA CA’ GRANDA Jacopo Sansovino Venice, Italy 1532

PAOLO DI MICCO, FRANCESCA DOTTI, ALBERTO OTTAVIANI, ILARIA SIGNORINI, LAURA SOARDO 49

ARSENALE DI VENEZIA GAGGIANDRE Venezia 1568

ELEONORA CURCIO, LODOVICO FALOMO, MARIA PIA IMBESI, EDOARDO MATTIUZZI 50

PUNTA DELLA DOGANA Giuseppe Benoni\Tadao Ando Italia 1682

CAMILLA CAMPACI, CAMILLA D’ALO’, GABRIEL CROCE, EVA GANZITTI, SILA NAZ BOLU 51

SCALA CONTARINI del BOVOLO Giovanni Candi Venice, Italy 1490

ALESSANDRO BOLOGNA, EDOARDO CANTON, ALESSIO FREGONESE, EDOARDO VALVASORI 52

UNITÈ DE BATISSE X Le Corbusier, Jullian de la Fuente Venice 1966

GAIA BELLOTTO, AYOUB BENLOUALI, ARIANNA SPIRONELLO, ADELE ZAMARIAN 53

CASA ALLE ZATTERE Ignazio Gardella Venezia 1958

ALICE BASSI, VITTORIA GAMBATO, TOMMASO SCALABRIN, GIUSEPPE BAGNI 54

CASE DI RESIDENZA SOCIALE NELL’AREA EX FREGNAN I. Cappai, P. Mainardis, V. Pastor Venice 1984

MARTINA BIANCATO, FRANCESCO PIEROPAN, MARTA PUPELLA, MARTINA QUAGGIOTTO, DIEGO SPIRANDELLI 55

OSPEDALE DI VENEZIA Le Corbusier San Giobbe, Venezia 1965

IDA DI LEO, RICCARDO FACCO, GIORGIA FERRUCCI, LEONARDO GRIGGIO, ALESSIA VAROTTO, NICHOLAS ZAMBON 56

SQUERO DI SAN TROVASO Venezia 1600 ca

FRANCESCA ALFANO, ENRICO BACCICHETTO, FILIPPO BARBIERO, FRANCESCO DE LUCA, LEONARDO SILVERA 57

BRIDGE OF THE REDENTORE Andrea Palladio Venice, Giudecca 1577-1592

NICOLÒ BRAGA, GIADA BRAGGION, MASSIMILIANO COPPO, MATTIA PELLIZZER 58

TEATRO DEL MONDO Aldo Rossi Venezia 1979

GRETA DECARLI, MARCO GENTILINI, RACHELE LANCINI, ALICE MARTA, PAOLO NICOSIA 59

architectural glossary: centipede building 1 water raid 2 inside out 3 urban void 4 asymmetrical speculation 5 genesis from the lines 6 broken paces 7 roofing the water 8 filling the gap 9 stepping on the facades 10 hidden water 11 modernity and traditions 12

1 centipede building : or when the project is raised on multiple leg.

2 water raid : or dealing with water in contemporary floodings.

3 inside out : or the perks of moving the public pageantry to the inside.

4 urban void : or what is thought to be the ultimate public space.

5 asymmetrical speculation : or the gamble of the incomplete.

6 genesis from the lines : or how to praise the context you are in.

7 broken paces : or when you dress up only for the zoom call.

8 roofing the water : or building a shelter where there is not.

9 filling the gap : or the perks of using the space like a cat.

10 stepping on the facades : or pretending every building is the Centre Pompidou.

11 hidden water : or how to run away from the water on an island.

12 modernity and traditions : or learning from the past.

60

comfort flows 13 permeable concrete 14 slope platform 15 getting places 16 water as a scenography 17

13 comfort flows : or when being lazy becomes a plus.

14 permeable concrete : or making holes in something massive.

15 slope platform : or the very best of the inclined plane theory.

16 getting places : or the fastest way to get from A to B. 17 water as a scenography : or placing a stage where it shouldn’t be.

61

student list : group 1 Stella Anese, Emma Ascenzi, Iryna Dzundra, Oleksandra Korzhavina, Matteo Scarduelli

group 14 Ida Di Leo, Riccardo Facco, Giorgia Ferrucci, Leonardo Griggio, Alessia Varotto, Nicholas Zambon

group 2 Roxana Bonca, Martina Degrati, Marta Guzzon, Angelica Mion, Soufian Nazarin

group 15 Francesca Alfano, Enrico Baccichetto, Filippo Barbiero, Francesco De Luca, Leonardo Silvera

group 3 Syria Buso, Alberto Flaminio, Giorgia Di Natale, Massimiliano Pasquali, Matteo Rigato

group 16 Nicolò Braga, Giada Braggion, Massimiliano Coppo, Mattia Pellizzer

group 4 Caterina Bortoletto, Francesca Brigato, Sorana Matei, Ludovica Rigo

group 17 Greta Decarli, Marco Gentilini, Rachele Lancini, Alice Marta, Paolo Nicosia

group 5 Matteo Abate, Thomas Amadio, Simone Battistel, Chiara Cataldo, Vincenzo Ferri group 6 Beatrice Cavalcante, Chiara Chierico, Veronica Di Odoardo, Thomas Di Giovanni, Giacomo Faralli group 7 Paolo Di Micco, Francesca Dotti, Alberto Ottaviani, Ilaria Signorini, Laura Soardo group 8 Eleonora Curcio, Lodovico Falomo, Maria Pia Imbesi, Edoardo Mattiuzzi group 9 Camilla Campaci, Camilla D’Alò, Gabriel Croce, Eva Ganzitti, Sila Naz Bolu group 10 Alessandro Bologna, Edoardo Canton, Alessio Fregonese, Edoardo Valvasori group 11 Gaia Bellotto, Ayoub Benlouali, Arianna Spironello, Adele Zamarian group 12 Alice Bassi, Vittoria Gambato, Tommaso Scalabrin, Giuseppe Bagni group 13 Martina Biancato, Francesco Pieropan, Marta Pupella, Martina Quaggiotto, Diego Spirandelli 62

63

64