venice research book

Rituals of EvERyday vEnicEResearch and Analysis

contents

Introduction

Myths Legends and Stories

Mistakes - Past and Current

Politics

The Venetian Day

Food and Fuel

La Biennale di Venezia

Response to La Biennale

Historical Development

Water

573753

7783107

125149

161

167187225247261

Future Projections

Image of the City

Transport

Urban Spaces and RoomsSuperstructures

Townscape

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The content in the following book has been compiled by the second and third year Venice group under the tutors Sarah Mills and Dennis Burr and contains research and analysis of the Rituals of Everyday life in venice before and after a site visit in October 2012. The book follows the theme of Common Ground - the title for 13th International Architecture Exhibition curated by David Chipperfield.

The following students have contributed to this book:Second Year: Jamie Aldus, Dali Alnaeb, Dean Bartlett, Connor Blackhouse, Jack Brown, Ryan Daniel, Leila Djalalvandi, Besart Redenica, Jamie Sample, Henry Schofield, Lottie Smith

Third Year: Basma Ajoor, Nathalia Azevedo, Melanie Backhouse, Jordan Blacker, Abdulrahman Bucheeri, Benjamin Courtenay, Lauren Di Pietro, Jonathan Evans, Mitra Hadian, Adam Hegab, Ryan Holdsworth, Jiyan Khalaf, Ryan Lawlor, Joseph Myerscough, Danny Patel, Matthew Redding, Hina Shah, Samuel Spence, Chantelle Stewart

The appendix contains further responses from students to the 2012 Biennale.

introduction

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la Biennale di venezia

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The Venice Art Biennale began in 1895 as the first international art exhibition. The biennale now runs in alternate years and produces work from countries all over the world, and began as the first international art exhibition.

Works from past biennale exhibitions featured above.

From left to right, top to bottom;Jenny Holzer ‘Purple Cross’ 2004 installation USA; Eija-Liisa Ahtila ‘Me/We; Okay; Gray’ 1993 35mm film and DVD installation Finland; Cindy Sherman ‘untitled’ 2011; Cindy Sherman ‘untitled’ 2011 USA; Tomas Saraceno ‘galaxies forming along filaments, like droplets along the strands of a spider’s web’ 2009 installation with elastic ropes; Tomas Saraceno ‘galaxies forming along filaments, like droplets along the strands of a spider’s web’ 2009 installation with elastic ropes Germany;Eija-Liisa Ahtila ‘‘The Present’ 2001 DVD installation Finland; Barbara Kruger installation 1991 USA ; Jovan Sumkovski ‘Night Vision’1999 installation Germany; Eija-Liisa Ahtila ‘‘Consolation’ 1999 35mm film and DVD installation Finland.

la Biennale di veneziathe art Biennale

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The Venice Film FestivalThe Venice Film Festival runs alongside the Venice Biennale and has been incorporated into this since 1932.

CAMICIE ROSSE (1952) - GOFFREDO ALESSANDRINI, FRANCESCO ROSI30 August 19:15 - Sala Volpi31 August 17:00 - Sala PasinettiVENICE CLASSICSCamicie rosse (1952) by Goffredo Alessandrini, Francesco Rosi - Italy, language: Italian - s/t EnglishThe film is set in the countryside of Ravenna where Anita Garibaldi’s agony ends. A long flashback reconstructs Garibaldi’s escape in July 1849 after the fall of the Roman Republic. He leads volunteers hunted by the French, Bourbon, Pontifical and Austrian troops, after the defeat and disarming of most of Garibaldi’s men at San Marino, distraught at the death of his beloved companion, miraculously avoids capture and faces a life of exile.Director: Alberto Barbera

AMERICAN DREAMS (1984) - JAMES BENNING4 September 19:30 - Sala Volpi5 September 17:30 - Sala PasinettiVENICE CLASSICSAmerican Dreams (1984) by James Benning - USA, language: English - s/t Italian(documentary)A complex and challenging film in every sense, American Dreams recounts the history of the USA from 1954 to 1976. The dominant visual element of the film are baseball cards relating to the legendary Milwaukee homerun champion Hank Aaron. The soundtrack consists of music (for each of the years in question) and radio broadcasts. Handwritten text, scrolls by on the bottom of the image; excerpts from the diary of Arthur Bremer, the man who tried to assassinate George Wallace in 1972.Director: Alberto Barbera

AT ANY PRICE - RAMIN BAHRANI31 August 19:30 - Sala Grande31 August 20:00 - PalaBiennaleVENEZIA 69At Any Price by Ramin Bahrani - USA, 105’language: English - s/t ItalianDennis Quaid, Zac Efron, Kim Dickens, Heather GrahamSet in the competitive world of modern agriculture, ambitious Henry Whipple wants his rebellious son Dean to help expand his family’s farming empire. However, Dean has his sights set on becoming a professional race car driver. When a high-stakes investigation into their business is exposed, father and son are pushed into an unexpected situation that threatens the family’s entire livelihood.Director: Alberto Barbera

la Biennale di veneziathe film festival

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The Venice Architecture Biennale is held in the same location as the Venice Art Biennale. The exhibitions are showcased with the majority in the Giardini, which contains the permanent national pavilions, as well as the Arsenale, which houses the temporary exhibitions. There are around 30 permanent national pavilions within the park. These are located on the maps above and right. The marshland area was drained to create the large public garden in Venice. The biennale is held here as it is only a short walk from St. Marks square - one of the huge tourist attractions of Venice, and is also located on the main waterfront.

The Central PavilionIn 1894 the mayor of Venice appointed Enrico Trevisanato to design a building in the Giardini di Catello to host the first international art exhibition. He created an imposing facade resting on a high base with a tetra style pronaos and enriched with decorations. The space was then enlarged sue to the success of the exhibitions, and participating nations began to erect their own pavilions.

aus ausrailiaa austriaB BelgioBR Brasilecdn canadadK danimarcaEt Egittofin finlandiaf franciad GermaniaJ GiaponneGB Gran BretagnaGR Greciail israelenl olandaP.vE Pad. venezia

fin finlandia (nordi)n norvegia (nordi)s svezia (nordi)Pl PoloniacZ cecasK slovaccaRoK coreaRo RomaniaRus RussiasRB serbiaE Espagnausa stati uniti d’americacH svizzeraH ungheriaRou uruguayyv venezuela

1. alison crawshaw2. Kuehn Malvezzi3. Grafton architects4. aga Khan trust for culture5. Wolfgang Walters6. Eisenman architects7. 40,000 Hours8. oMa9. toshiko Mori architects10. norman foster11. o&o Baukunst12. thomas demand13. crimson architectural Historians14. caruso st John15. Peter fischli + davidv+Weiss

16. Elke Kransey17. atelier d’architecture autogeree18. Muf architecture/art19. ateliers Jean nouvel20. Herreros arquitectos21. alejandro aravena22. olafur Eliasson23. fulvio irace24. diener & diener25. steve Parnell26. MvRdv27. Jasper Morrison

la Biennale di veneziathe location of the Biennale

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la Biennale di veneziathe location of the Biennale

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1. case studio vogt2. Robert Burghardt3. Bernard tschumi4. thomas struth5. norman foster6. luigi snozzi7. Ruta del Peregrino8. vittorio Magnago

lampugnani9. o’donnell + tuomey10. Markli architekt11. fat12. Robbrecht en daem

13. cino Zucchi14. noero architects15. Hans Kollhoff16. farshid Moussavi17. Herzog & de Meuron18. sergison Bates19. Kenneth frampton20. Mark Randel21. seung H-sang22. Renzo Piano Building

Workshop23. Zaha Hadid24. anupama Kundoo

25. alberto campo Baeza26. urban think-tank27. valerio olgiati28. Eric Parry29. san Rocco30. dK-cM31. 13178 Moran street32. luis fernandez-Galiano33. team chicago-cityWorks34. sanaa35. Jose Rafael Moneo36. Mario nanni

KWt Kuwaitcy ciproEst EstoniatHa thailandaMal MalesiaRKs KosovoBRn BahrainHR croaziaPER PeruMK Macedoniaua ucrainaiRl irlandaRcH cile

The Giardini

The Giardini contains the pavilions commissioned over the years by the various nations taking part in the Venice International Art Exhibition, located both in the Giardini di Castello, and the Sant’Elena area on the other side of he canal. Immersed in nature, these buildings are an anthology of great formal value, having been designed by some of the leading names in 20th century architecture such as, Aalto, Hoffmann, Rietveld, and Scarpa.

The Arsenale

The Arsenale is the biggest pre-industrial production centre in Venice. The fleets of the Serenissima were built in this complex of docks, workshops, and warehouses. The original nucleus was alongside the Darsena Vecchia and dates from the start of the 13th century. It was initially enlarged at the start of the following century with the construction of the Darsena Nuova, and further changes were made in the 15th century to meet the Republic’s growing merchant and naval shipping requirements. New buildings were added between the Darsena Nuova and the Nuovissima between 1876 and 1909. La Biennale has undertaken numerous works to recover parts of the complex since 1999 in order to adapt these to the new cultural exhibition use of the areas, granted in concession by the naval owners (Corderie, Artiglierie, Gaggiandre, the 16th century Tese, and the Tese delle Vergini).

The CorderieThe Corderie was originally built in 1303 then renovated between 1579 and 1585 to a design by Antonio Da Ponte. It was originally used to make hawsers, cables and ropes. The building is entirely roofed with wooden trusses and is 36m long, 21m wide and 9.7m high. It is divided into three aisles, the lateral ones supporting two mezzanine floors at a height of 7m. It provides a total exhibition area of 6400m2.

Artiglierie and IsolottoThe Artiglierie consists of a long, single-story building dating from 1560 the once housed the Arsenale workshops with a total area of 3300m2. The Isolotto, a former warehouse of 900m2, stands alongside.

Gaddiandre, Tese, Giardino delle VerginiThe Gaggiandre, two big docks built between 1568 and 1573 to a design attributed to Jacopo Sansovino, face onto the large internal dock area. Beyond the Tese, partly built in the 16th century, is the Giardino delle Vergini, a green space whose entire area (6000m2) was used for the first time in 2008.

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1980 - La Presenza Del PassatoTheme: Consideration of the Post-Modernist Movement Date: 27th July - 20th OctoberSite: Corderie Dell’ Arsenale

The first independant exhibition took place at Corderie Dell’ Arsenale in 1980

The theme of the first Architecture Biennale was consideration for the ‘Post-modern Movement.’ There was a sense that the ‘present time offered nothing new from the past.’ The main exhibition, ‘Strada Novissima’ became a symbol for the Post-modernism, helping the movement assert itslef as a leading and internationally known approach.It also opened a lively debate on Post-modernism among Architects such as Frank O. Ghery,Rem Khoolas, Arata Isozaki and Franco Purini, establishing the Architecture Biennale as an influenial protagonist within International Architectural debate.The main exhibition, ‘Strada Novissima’ consisted of 20 facades designed by renonwed architects such as Hans Hollein (left) and Thomas Gordon Smith (right) creating a theatre wing for a hypothetical ‘Post-modern Street.’ The aim was to enable vistors to recieve a direct and tactile experience of architectecture, ‘With architecture, not about architecture.

1982 - Architecture in Islamic CountriesTheme: Architecture in Islamic CountriesDate: 20th November - 6th January Site: Padiglione Italia Giardini

la Biennale di veneziatimeline and themes of the Biennale

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1985 - Project VeniceTheme: Requalification and transformation of selected areas in VeniceDate: 20th July - 29th SeptemberSite: Padiglione Italia Ai Giardini

1986 - Hendrik Petrus Berlage DesignTheme: Reflection on the work of Hendrik Petrus BerlageDate: 18th July - 28th SeptemberSite: Villa Farsetti (Santa Di Maria)The exhibition was dedicated to the prominent Dutch architect, Hendrik Petrus Berlage. He criticised the modernist movementand its rationalism. He was chosen by then President, Paolo Portoghesi and director, Aldo Rossi for his constant attention for history. They also shared Berlage’s suspicion of the liberties and glorification of progress of the modernist movement.The importance of this exhibition was emphasised further when it was showcased in Amsterdam, Paris and Berlin for people to explore and experience Berlage’s work for themselves.A collection of all the Architect’s designs were collected, organised and displayed at Villa Farsetti.The focus of his works centered on the unification of Art, Architecture and History.


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1991 - 5th Internatinal Architecture ExhibitionTheme: Developemnt of the Biennale’s Internationality Date: 8th September - 6th OctoberSite: Padiglione Italia

1996 - Sensing the futureTheme: The Architect’s abilty to catch the present vibes and translate them into the futureDate: 15th September - 17th NovemberSite: Padiglione Italia , National Pavillions at Giardini


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2000 - Less Aesthetics, More EthicsTheme: Promotion of Architectural research with regard to environment, society and technologyDate: 18th June - 29th OctoberSite: Corderie Dell’ Arsenale, Giardiniless aethetics, more Ethics was the theme for this edition with focus on the promotion of architectural researchwith regard to the environment, society and technology.By developing a 360o perspective on the contemporary city , especially the 21st century Megalopolis, we can find a new way of relating to Architecture by favouring research of new ethical responses when developing projects and not just dwelling purely on aestheticsthe main exhibition located in the arsenale focused on revising the continious perspective of the first exhibition, strada novissima (1980). topics also inluded the fusion between digital technology and architectural debate.By displaying work s of artists, Photographers and architects who questioned the evolution of the metropolis, the need for interdisciplinary approach to catch up with challenges in the present times was emphasised

2002 - NextTheme: Architecture in the futureDate: 8th September - 3rd NovemberSite: Corderie Dell’ Arsenale, Giardini


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2004 - MetamorphTheme: The metamorphosing of architecture dictated and facilitated by new technologiesDate: 12th September - 7th NovemberSite: Corderie Dell’ Arsenale, GiardiniDirected by Kurt W. Forster (left), the theme of this exhibition was the ‘metamorphosing architecture , dictated and facilitated by new technologies and materials’. The exhibition held at the Arsenale was dedicated to four artists; Aldo Rossi, James Stirling, Peter Eisenman and Frank O. Ghery who changed the theoretical debate during the early 80s. The latter two Architects were considered pioneers when it came to anticipating many solutions which became models for others.The highlight of the exhibition was Asymtote’s modular structures, designed using computer technology. Each section spontaneously and simoultaneously slid into the next as a symbol for a growing metamorphises process

2006 - Cities, Architecture and SocietyTheme: The role of Architects in designing democratic and sustainable urban landscapesDate: 12th September - 7th NovemberSite: Corderie Dell’ Arsenale, Giardini and Palermo


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2008 - Out There: Architecture Beyond BuildingTheme: Moving towards building - free Architecture by thinking and arguing about buildingsDate: 14th September - 23rd NovemberSite: Corderie Dell’ Arsenale, Giardini

2010 - People Meet in ArchitectureTheme: Experiencing the manifold possibilties of Architecture and accounting for its plurality of its approachesDate: 29th August - 22nd NovemberSite: Corderie Dell’ Arsenale, Giardini


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1980 - La Presenza Del Passato

1982 - Architecture in Islamic CountriesTheme: Architecture in Islamic Countries

Director: Paolo Portoghesi

Date: 20th November - 6th January

Site: Padiglione Italia Ai Giardini

Theme: Consideration of the Post-Modernist Movement

Director: Paolo Portoghesi

Date: 27th July - 20th October

Site: Corderie Dell’ Arsenale

1985 - Project VeniceTheme: Requalification and transformation of selected areas in Venice

Director: Aldo Rossi

Date: 20th July - 29th September

Site: Padiglione Italia Ai Giardini

1986 - Hendrik Petrus Berlage DesignTheme: Reflection on the work of Hendrik Petrus Berlage

Director: Aldo Rossi

Date: 18th July - 28th September

Site: Villa Farsetti (Santa Di Maria)

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1991 - 5th Internatinal Architecture Exhibition

Theme: Developemnt of the Biennale’s Internationality

Director: Francesco Dal Co

Date: 8th September - 6th October

Site: Padiglione Italia

1996 - Sensing the futureTheme: The Architect’s abilty to catch the present vibes and translate them into the future

Director: Hans Hollein

Date: 15th September - 17th November

Site: Padiglione Italia , National Pavillions at Giardini

2000 - Less Aesthetics, More EthicsTheme: Promotion of Architectural re-search with regard to environment, society and technology

Director: Massimiliano Fuksas

Date: 18th June - 29th October

Site: Corderie Dell’ Arsenale, Giardini

2002 - NextTheme: Architecture in the future

Director: Deyan Sudjic

Date: 8th September - 3rd November


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2004 - MetamorphTheme: The metamorphosing of architecture dictated and facilitated by new technologies

Director: Kurt W. Forster




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2006 - Cities, Architecture and SocietyTheme: The role of Architects in designing democratic and sustainable urban landscapes

Director: Richard Burdett


Site: Corderie Dell’ Arsenale, Giardini and Palermo

2008 - Out There: Architecture Beyond BuildingTheme: Moving towards building - free Architecture by thinking and arguing about buildings

Director: Aaron Betsky

Date: 14th September - 23rd November


2010 - People Meet in ArchitectureTheme: Experiencing the manifold possibilties of Architecture and accounting for its plurality of its approaches

Director: Kazuyo Sejima

Date: 29th August - 22nd November


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Paolo Portoghesi

Role: Director

Theme: Presence of the Past

Portoghesi directs the first independent Architecture Biennale. There’s a strong focus on Post-modernism which questions the ‘coldness’ and ‘blandness’of Architecture. After the succes of the exhibition, the Biennale becomes a symbol for Post-Modernism and gains the movement worldwide recognition.

1980

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1986

Aldo Rossi

Role: Director

Theme: Hendrik Petrus Beralge Design

Now President, Portoghesi appoints Aldo Rossi as Director for the 4th Architecture Biennale. Aldo Rossi, praised for his ‘ability to use his knowledge of the past and the present’ seems the ideal candidate to push forward the ‘anti -modernist agenda’

Portoghesi and Rossi both choose to dedicate the 4th Architecture Biennale to Hendrik Petrus Berlage, a dutch architect who criticised the modernist movement and its rationalism. They used Berlage’s school of thought; looking to the past, to communicate and push their own views of the future of Architecture. Does the Director have too much influence?

Look to the Past

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Massimiliano Fuksas

Role: Director

Theme: Less Aesthetics, More Ethics

In the 7th Architecture Biennale, director, Fuksas seeks to promote more architectural research. Emphasis is placed on the fusion between digital technology and architecture There’s a growing use of digital technology to help solve modern problems faced by Architects.

2000

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2004

Kurt W. Forster

Role: Director

Theme: Metamorph

As digital technology advances , its influence and use grows sprouting alternative ways of thinking giving birth to new forms, previously thought to be inviable.

Directed by Kurt W. Forster, the 9th Architecture Biennale receives some criticism from various influential architects. Hans Hollein describes the exhibition as ‘a mixed bag, difficult to differentiate the works and the authors.’ Armin Linke believes the projects are ‘difficult to interpret because there is no base of experience.’ This raises the question, who is in charge? The director or the architect?

Imagine the Future

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The curator is appointed by the Venice Biennale board of directors. The current director for the architecture Biennale was appointed by a board consisting of:

With most members politicians or linked to prominent politicians, it’s not unreasonable to speculate that politics may have an influence in who the board chooses to appoint as director

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Paolo Baratta, President, Venice Biennale Board

Giorgio Orsoni, Vice President, Venice Biennale Board

Luca Zaia, Italian Politician,Venice Biennale Board

Francesca Zaccariotto, Italian Politician, Venice Biennale Board

Emmanuele Francesco Maria Emanuele, Venice Biennale Board, appointed to position by Minister of Heritage and Cultural Activities.

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Each participating country showcases the work of an individual artist or a collection of work from several artistsThis is funded by either their respective Cultural ministries, Foreign affairs ministries or a private SourceGives the opportunity for a country to make a political statement using one of the most prestigious and influential stages for Art

Two sculptures, ‘Waiting Bride’ and ‘Black stone of Mecca’ by Aidan Salakhova were removed from Azerbaijan’s pavilion because it allegedly offended the President of Azerbaijan because of it portrayed an ‘overly strict image of Islam’ and was therefore deemed ‘controversial to the prestige of the country.’ Funding is controlled by politicians therefore the curator had to adhere to political pressure.

Vittorio Sgarbi, an Italian minister himself and art critic was appointed by the culture minister Sandro Bondi to curate the Italian pavilion which coincided with the 150th Anniversary of the country’s unification . Sgarbi invited a committee of Italian intellectuals to select 200 artists whose work was to be displayed. The pavilion was heavily criticized described by some as ‘like a tour inside Silvio Berlusconi’s brain.’ This exhibition highlighted how the influence of politics can promote elitism in the Biennale.


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In an unexpected move , Poland entrusted their Pavilion to Israeli born video artist, Yael Bartana. The subject was the Jewish Renaissance Movement, a political group, the leader of which was the artist herself. Their agenda was to push for the return of Jews back to Eastern Europe. By giving the artist a means to voice and promote her cause, Poland was seen as graceful and gained a positive standing within the Art community.

The Egyptian Pavilion was dedicated to showcase the work of Egyptian artist, Ahmed Basiony who was killed while taking part in the Egyptian protests at Tahrir Square. One gets the sense that it was not just about showcasing his work but also using the exhibition to bring full attention to the struggles of the uprising against Mulbarak. What’s a more powerful stimulant to focus people’s attention to the conflict taking place in the region than one of the community’s own loosing his life for the cause.

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la Biennale di veneziathe national Pavilions of the Biennale

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BelgiumThis was the first nation to build their own pavilion in 1909. It was designed by architect Leon Sneyers, and has undergone many alterations, and a complete restoration in 1948 by Virgilio Vallot.

HungaryAlso opened in 1909 the pavilion was designed by artist Geza Rintel Maroti.Inspiration for the pavilion came from motives of rural Magyar architecture and Hungarian religious art, and can be seen by the large entrance, the apse in the rear elevation and the rich decorative work. The building was restored in 1958 by Agost Benkhard, who demolised the cupsed roof and replaced the windows with skylights.

GermanyThe original design by Daniele Donghi in 1909 was demolished in 1938 and a new one built by Ernst Haiger, distinguished by an impressive pronaos supported by square columns.

Great BritainEdwin Alfred Rickard designed the British pavilion by renovating an existing cafe-restaurant building. The new building refers to Palladian architecture and distinguished by a large, open, elevated loggia over the central staircase leading to the pavilion entrance.

FranceThe pavilion was designed in 1912 by Faust Finzi. Its layout features a broad central hall flanked by two smaller rooms and opening onto a characteristic semi-circular entrance portico supported by columns of Verona brocatello. The balustrade in wrought iron by Venetian artist Umberto Bellotto can be seen from the terrace above. He also designed the lateral flagpoles and chandeliers inside the building.

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The NetherlandsGerrit Thomas Rietveld was commissioned to design the current Netherlands pavilion in 1953. He conceived a neo-plastic spatial composition created by combining different volumes and paid particular attention to the lighting of the exhibition spaces.

RussiaDaniele Donghi proposed the original design for Russian pavilion, however this austere design was rejected in favour of a proposal made by Aleksej V.Scusev, who in 1914 presented a plan in an elaborate decorative style based on late 17th century national architecture.

SpainOpened in 1922 before fully completed, the building took on its difinative form in 1924, when designer Javier De Luque finished decorating the elevation. The latter featured motives inspired by late-Baroque Castilian architecture, particularly around the entrance way. In 1952 the architect Joaquin Vaquero Palacios was commisioned to update the facade, opting for a formal simplification of the entire complex.

Czech Republic and Slovak RepublicAlthough Czechoslovakia took part in the Biennale from 1920, it did not own its own pavilion until 1926. The design was entrusted to Otakar Novotny, who proposed a simple linear layout consisting of a single rectangular exhibition space and two smaller rooms at the sides of the entrance. This restrained design was enlivened by the decoration of the entrance cornice, now removed, recalling Czeh cubism.

USAThe US pavilion was built in 1930 in a mock-classical style inspired by the elegant architecture of 18th century American colonial homes to a design by Chester Holms Aldrich and William Adams Delano. The sobriety of the layout is reflected in the elevation, which is free of any superfluous decorative elements. Its only source of dynamism is provided by the judicious combination of brick and stone on its surface.

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DenmarkThe Danish pailion was designed by architect Carl Brummer in 1932. It is distinguished by a sober, linear formal plan, with a peristyle portico intended for sculptural works and giving access to a large exhibition space. In 1958 the building was extended to a design by Peter Koch, which communicated with the existing neo-classical style by a measured combination of volumes and particular attention given to the choice of materials (brick, iron and glass).

Venice Pavilion (Egypt, Poland, Serbia, Romania)The pavilion was directed by Brenno Del Giudice in 1932, who developed an ideal scenic frame for the Sant’Elena area near the Rio dei Giardini. The complex was conceived as a single strip with a semi-circle opening in the centre for the decorative arts. The two ends of the complex were assigned to Switzerland (who gave the site to Egypt in 1952) and Poland. After the 1938 expansion sites were created for Yugoslavia (now Serbia, and Romania.

AustriaBuilt quickly in 1934 to a Josef Hoffmann design, after twenty years of negotiations and rejeted designs. The main elevation is distinguished by horizontal fluting along the entire surface and a broad entrance that vertically divides the building in two, leading ti the central gallery that in turn gives access to the two main exhibition spaces and a big patio for exhibiting sculpture.

GreeceSince 1932 Greece have occupied a wing of the complex built in Sant’Elena. However the desire for greater visibility in the overall exhibition inspired Greece to propose it’s own pavilion in 1934 designed by artist Gheorghios Papandreou. It was inspired by motives of Byzantine religious architecture, as can be seen in the brick surface decoration and the portico with its three round arches.

IsraelBuilt in 1952 to a design by Ukranian architect Zeev Rechter. He proposed a building distinguished by a single trapezoidal volume interrupted at the entrance by a spacious opening preceded by slender pillars. The interior is played out on three levels and the large window that lights up the mezzanine gives the exhibition space a positive dynamism. The terrace at the rear of the building was adapted for showing sculpture in 1966 by Fredrik Fogh.


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VenezuelaConsidered one of the masterpieces within the Giardini, the Venezuelan pavilion was designed by Carlo Scarpa between 1953 and 1956. Distinguished by the very close attention given to detail and to the natural lighting of the spaces, it is divided into three distinct spaces connected by an iron canopy sheathed in wood and lead. The first of these, roofed by a concrete slab, seems connected by mobile systems. The others consist of two impressive, steggered parallelepipeds of different dimensions in exposed concrete outside and plastered inside.

JapanThe modern structure, designed by Takamasa Yoshizaka in 1955, consists of a single exhibition space raised on four load-bearing dividing walls and lit from above. The design called for the arrangement of sculptures in the space beneath and a small oriental garden, only partly developed.

FinlandFinland obtained permission in 1955 to build a small temporary pavilion. This design, by Alvar Aalto, consists of a trapezoidal building with a wooden structure and roof system of trusses. The pavilion is supported and aesthetically distinguished by three white rectangular elements that, together with the blue wall exterior, make up the national colours.The Finnish pavilion has since been rented to Iceland to house their campaigns for the Biennale, after Finland joined the Nordic countries pavilion.

CanadaThe pavilion was built between 1956 and 1957 by the BBPR group who designed an original solution to the narrow space between the Great British and German pavilions. Opened in 1958, the glass and wood building is distinguished by the merging of internal and external soaces, and is based “on the principle of the Archimedes’ spiral generated by the octagon expressed, on the plan, by the reinforced concrete pillar that subsequently supports the roof beams.”

SwitzerlandIn 1952 Switzerland gave up its site on Sant’Elena to Egypt, and built its own pavilion in the Giardini designed by Breno Del Giudice, creating a building with a complex spatial arrangement divided into different areas for the exhibition of various artistic disciplines. The shed roof over the main hall is dedicated to painting.


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UruguayThe pavilion is an adaptation of the already existing service structure built in 1958, and granted to Uruguay in 1960. The main object of the renovation work was the elevation, for which an initial anachronistic proposal for stone cladding and a distyle propylon entrance was rejected in favour of a sober stone framing of the entrance.

Nordic Countries: Finland, Norway and Sweden.Designed by Sverre Fehn after winning a competition for the design of the pavilion, this proposal was favoured for the possibilities offered by the large exhibition area (400m2), the successful merging of internal and external spaces, and the modular roof allowing the entrance of natural light. Opened in 1962.

BrazilDesigned by architect Amerigo Marchesin in the centre in Sant’Elena. The building opened in 1964, divided by a covreed gallery that leads to the pool in front of the Venice pavilion.

AustraliaAlthough Australia has taken part in the Biennale since 1954, it has only had its own pavilion since 1988. Designed by Philip Cox it is divided into two staggered levels around an internal staircase and covered by a corrugated roof.

Republic of KoreaThe Korean pavilion, built in 1996, was the last national pavilion to be erected in the Giardini. It stands on an artificial hill between the German and Japanese pavilions. The steel structure was designed by Seok Cul kim and Franco Mancuso, and incorporates a brick building dating from the 1930s. It has a faily linked planimetric layout: a corrugated facade follows the line of the existing natural elements and one side projects over the embankment, which, along with the openings in the roof, lights up the main exhibition area.


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‘Common Ground’ 29.08 - 25.11

The Architecture Biennale is held once every two years, in alternation with the Venice Art Biennale. This year’s theme ‘Common Ground’ has been set by Sir David Chipperfield, looking to work in collaboration with architects globally, with an emphasis on what we have in common.The meaning of Common Ground; “an agreed basis, accepted by both or all parties, for identifying issues in an argument .” Common Ground can be defined in many ways as the exhibitions of the biennale explore. It is seen to be a mutual understanding; between architecture in its place; between architects themselves; and even between the different professions related to architecture - engineers, photographers, graphic designers etc.Architect, Bernard Tschumi, created the series of posters above in order to attempt to explain the idea of ‘Common Ground’ within architecture. His work is exhibited as the introduction to the Arsenale, which holds works from numerous architects looking at the idea of ‘Common Ground.’`

“I want this Biennale to celebrate a vital, interconnected architectural culture, and pose questions about the intellectual and physical territories that it shares” - Sir David Chipperfield.

Chipperfield explains he wants to bring together architects from all ages, geography and disciplines through collaboration and dialogue.

la Biennale di veneziathe 2012 venice Biennale

common Groundlauren di Pietro

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Response to la Biennale

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la Biennale di veneziafeel the Ground. Wall House: one to one

tony Kangah

Being the largest and one of a few full-sized installations in the Arsenale, Anupama Kundoo’s ‘Wall House’ provides its own definition of ‘Common Ground’.

The installation itself is a full sized replica of Kundoo’s project in Auroville in 2000 and was constructed on-site. The original was built a response to its environmental and cultural context with emphasis placed on method of construction, materiality and site strategies. The project is a collaboration between native Indian craftsmen, students from Queensland University and students from IUAV in Venice; a span of three continents brought together to exchange ideas, skills and techniques from their respective cultures.

There are several examples where Kundoo has used changes in social attitude to find solutions for the building construction. For example, the terracota pots which have seen a decline in use for cooking are now re-arranged and re-used for the ceiling and the barrel vaults, a great method of solving a problem with a problem therefore eradicating both in the processThere’s something unique about experiencing a space for yourself; feeling the materials , inhaling the odours, hearing the subtle creek of the structure as you walk up the stairs , the sturdy yet fragile feeling as you explore the internal spaces. Perhaps this is a result of the external aesthetic; the contrast between the rigid and robust Indian clay bricks which makes up a section of the structure, and the delicate but flexible woodwork which makes up another section of the structure.The choice of materials plays a critical role , not only for the feeling it evokes but also the impression you get of the building, With most of the construction detail showing, there is no attempt to cover up, hide or disguise; what you see is what it is. Its as if the knowledge and the techniques were not just shared among the builders but the visitor is also engaged in the same dialogue, a Common GroundThe architect, Anupama Kundoo, originally born in India, now based in Queensland, Australia initially designed the house as an experiment in fusing advanced architectural and engineering techniques with sustainable low tech building materials and traditional Indian labour techniques.

The replica in the Arsenale is a continuation of that experiment . New elements such as recycled materials , filler slabs and interlocking tubes made of terracota have been introduced in the newly built replica.The structure itself has been adapted for the Arsenale to compensate for the venue which cannot handle much weight.

The collaboration between the Indian craftsmen, students from Queensland University and IUAV students from Venice not only helps the installation to fulfill the theme of ‘Common Ground’ but it also cuts the build time. The originally took two years to design and build but the replica was completed in three months.

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The idea of copying is somewhat an area of taboo, we are asked to take inspiration from other designers and buildings, and use this to come up with our own intuitive designs, but we are forbidden to copy. True creativity has been lost, we are now a generation of copiers, we take from the past and use this in the present and build upon the strengths and weaknesses of the past. The exhibition from FAT explores the notion of copying in architecture, how one shape has trillions of interpretations and trillions of different forms. The centre piece to the exhibit was the VillaRotunda which explicitly illustrates how copying can be a positive influence in design, we see that one iteration is a mould and against this we have the cast. The cast is a complete copy and illustrates theVilla as it was; the mould however, shows us the negative space surrounding the villa which creates an interesting interior space, although it has been copied.On the cast side another intriguing interior space is created, it has the basic qualities to the Villa Rotunda, but has similar characteristics to that of a cave.

Therefore copying in this instance has created an internal space which keeps the viewer engaged with the space. Other exhibits here explored the notion of copying in nature, and one particular display, showed that one species can have many copies, which are all slightly different, for instance there are 350,000 varieties of beetle. This conveys that copying is a natural process, we copy and improve to adapt and to grow. Another exhibit explicitly showed that architecture can be copied and replicated within an archetype, thus creating a common ground, a common ground of one typology, one form, one shape being the basis for many more interpretations to come

la Biennale di veneziafat - Museum of copying

Jamie aldus

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la Biennale di veneziaResponse to the Biennale

dali alnaeb

Both sections of the Biennale (Arsenale and Giardini) were extremely beneficiary, as there was alot of variety in terms of approaching the different projects that were on display. Starting with theArsenale, one of the aspects that struck me most is the use of ink and pencil to make simple sections,along with the small maquettes, but in my opinion it is such items that help make a better connectionwith the viewer and the architect him/herself.

Going through the Arsenale part of the exhibition I felt that it had more to offer in terms of tacklingarchitectural problems whether with drawings, models or otherwise. As students at this level, I thinkthat more has been learned from the Arsenale. One of the other architects’ projects that I think ineveryone’s opinion is always ‘eye-catching’ was Zaha Hadid’s. Personally I am not the biggest fan of herwork, however, doing what she does I do not think that there is a better architect in DeconstructiveArchitecture. Although I don’t admire her work, I am incapable of not stopping to see what she hasmade, she challenges physics in a way that is too hard to miss.Some of the models that were at the Arsenale were quite extraordinary, their life-like sizes required aridiculous amount of precision and time to get done, at the same time I think such models showed mejust how important thinking in a 3-D respect is.

The Giardini exhibition on the other hand was an entirely different sort of architecture show. Although I think I got more out of the Arsenale part, there was a lot of to be taken from the Giardini in terms of presenting your work. The countries represented in the pavilions each portrayed their projects inentirely different approaches media-wise. It shows that you can do more than just show your work,rather you can use the viewer’s sense of smell, hearing and touch. For instance, the Danish pavilion usedfish to give out their scent whilst having the same room slightly chilled as the project was shown on thewall using projectors.The Russian pavilion also showed an unusual way of presenting work as large QR codes made the wallsof the entire pavilion, and upon entering you are handed an iPad to scan the different codes, each coderepresenting a different part of the project. In my opinion, it is an interesting way of ‘thinking outsidethe box’, however at the end of the day we are still reading things off an iPad, which is never anadvantage.

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la Biennale di veneziaJapanese Pavilion

connor Backhouse

What is common ground? Common ground is a place where people can connect with one another. A place where an experience is shared between friends or strangers. It can be a shelter for the many or a bridge between the many. From walking around the Biennale, common ground is perceived as a place which comes between two different ideas, a bridge or a solution to a problem or a set of problems.The Japanese pavilion presents common ground as alternate housing concepts for the homes destroyed in the city of Rikuzentakata in the tsunami of March 2011. The pavilion acts not only as a though of recovery from crisis but also as an opportunity to ponder the future shape of society and architecture. The home for all concept acts on architecture of the modern era, re-evaluating the aesthetic and formal definition within the context of a site currently undergoing a revitalization. The home for all concept not only builds a community but depends on community input in creating it. An open courtyard below the pavilion projects an array of timber columns holding the pavilion mirroring the schemes of the dwellings anchored amongst pillars. As a backdrop to the markets circling around the room is a panorama of the host city after the tsunami creating a sense of the environment and conditions spanning these concepts, this is reinforced by the housing concepts contrast with the rough cut wooden plinths beneath reflecting the landscape of the target space. Common ground is answered therefore through creating a common area in which people can coexist.Common ground is shown in the Japan pavilion as a home, a new home, the home for all. It re-invents the definition of architecture by making structures suited to the land and not suiting the land to a building. This is common ground, a compromise between the world and human survival.

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la Biennale di veneziaus Pavilion

Jack Brown

‘Spontaneous interventions’ was the focus of the US pavilion at the 2012 Biennale in Venice The installation investigates the future of the archetypal American city through a series of small scale projects. It consists of colour coded banners resembling barcodes, where the sizes of each strip represents the prevalence of a specific category in relation to thepresented project: information (blue), accessibility (orange), community (pink), economy (light green), sustain ability (dark green) and pleasure (light blue). The projects or urban interventions, were hung from a cable system. via a counterweight which represents a problem. When the banner is pulled down and the counterweight is lifted, a summary of the aim of the project or solution, is revealed. Aquaponic container system by Austin Urban Solutions and Rosner StudioThis project addresses issues of climatic adaptability and agriculture with solutions that are deployable , sustainable and interdisciplinary. The structure is re purposed refrigerator shipping container, converted to house aquaculture and hydroponic systems for farming fish and vegetables. The aquaculture effluentsproduced from eaten food, build up within the water increasing toxicity for the fish . This water is pumped into a hydroponic system where the by-products are filtered out by the plants as vital nutrients. The cleansed water is then recirculated back into the aquaculture. In conclusion; in relation to Venice, the commonground needs to achieve a balance between tourist interests which drives the main source of income for the city; and local interests, preserving the cultural and traditional way of life for Venice to raise population and decrease the cost of living; creating a plain by which both can coexist; but was is the extent of this plain? Do we try to introduce interventions which remove the locals from traditional values at the extent of tourist invaders; and even then, the city is still sinking and is the size of the city going to be able to cope with the rising potential rising numbers created by these interventions. Then does the solution extend to two separate existences, where the common ground becomes separated again, where a city of tradition become a tourist play ground and the locals become relocated.

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la Biennale di veneziafoster + Partners - Gateway

Ryan daniel

Common Ground to me is the place where people, different nationalities, genders, ages and professions can gather in a space that then places all of them on an equal plane. The reason they have gathered does not matter, only that they share a common interest.Norman Foster’s Gateway highlights my initial thoughts on what common ground is; as soon as you enter the room it attacks your ears through the sounds of various communal gatherings, whether that is through chanting in a football stadium or gunfire in a war zone. These examples of common ground bring people together with no regard for what reason or purpose, only that it is shared.

The images and sounds make you think about the various scenarios that they are portraying, forcing you connect with how these people must have felt emotionally, both positive and negative. This then poses us a question, whether or not we take theseplaces and spaces for granted in our everyday lives. Foster asks us this question because so many of us do.

The room itself was also able to create common ground as well as represent it however, by making you reflect on the images and sounds, it was making you appreciate the space, which brings the question full circle. The common ground created from the black box resulted in people wanting to come into the room, sit, watch, listen and think.

The writing that falls and flows around the room is made up of the names of the many people that have contributed to the design of our cities and buildings, which in turn also allows the space to become a celebration of this work, of common ground.

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la Biennale di veneziaGeographer le foyer de taiwan

leila djalalvandi

After visiting the Biennale exhibition‘Common Ground’ I felt more knowledgeable about how wide the subject of Architecture really is. At times I was shocked and others mesmerized by the diverse range of work in the exhibitions.

I was most inspired by the Taiwanese pavilion named ‘Architect/Geographer Le Foyer de Taiwan’. The exhibition was split at a height of 150cm into two sub projects: Foyer of Taiwan and Le Foyer Perdu led by Wei-Li Liao and Yu-Han Michael Lin respectively.

The primary building material in the pavilion was corrugated fibre board layered to create interesting shapes and patterns.The lower section of the pavilion by Lin reflected a domestic space commonly used by the middle class; it was a typical apartment layout, including a bath, shower, sink and living area, all of course made from layers of fibre-board.

This was juxtaposed with a beautiful space by Liao which reflected the richness of the geographical features as you are taken through a journey of Taiwan’s beautiful landscapes. The use of specific dramatic lighting and the variety of heights made the pavilion look so intriguing and it was a powerful message to Taiwanese society.

I found the concept behind the pavilion very interesting; I feel it wanted to portray how the Taiwanese cultural and social heritage is being forgotten as a result of globalization.The concept of ‘Common Ground’ was interpreted in a way which reflected how Taiwan has changed as a country. Taiwan is being forced into Westernized culture by the rising middle class who embrace western influences. This is creating a lack of separation between eastern and western society.

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la Biennale di veneziao’donnell + tuomey - vessel

Besart Redenica

In response to the topic ‘Common Ground’ O’Donnell and Tuomey presented the ‘Vessel’. The Architects were inspired by a profound discussion from Irish poet Seamus Heaney’s “The Annals Say” and from a passage from Dante’s “Inferno”. These passages deployed images of ship building and seafaring. I am fascinated by the architects’ response to the passages, they have created a sacred, shrine like space is created using simple materials and techniques.

The vessel is a site specific response to the theme, this two story tall wooden structure consists of timber struts which works in conversation with the layered brick construction of the Arsenale. I am interested in how the wooden geometrical form mimics the pattern of the bricks.Between the columns and the beams of the wooden structure are rectangular holes. The architects’ contrast this to the timber moulds used to cast bricks. Here the historical link between the brickwork and the timber is exploited by the Venetian setting. The architects’ contrast this to the timber moulds used to cast bricks.

It is captivating how the two architects exploit the Venetian setting through the historical link between the brickwork and the timber. Each individual brick is formed from its own wooden cast; the clay is dug out from the forest floor while the tree is cut for the wooden mould.

The use of these two raw materials hasn’t changed much since ship builders built vessels within the bricks of the Arsenale.I am also very interested in the form of the Vessel, the structure stretches towards the roof of the Arsenale like a funnel helping to filter the light into the space. I believe that the architects’ intentions suggest that the Vessel can be used as a light funnel, which creates a passage towards the ‘Common Ground’ for ships. The Vessel can easily be accessed by visitors from two other openings; which assist in framing the view of the encompassing work.

The stacked timber struts reveal the stairs which vary in height and in thickness between the two portals. There is also a third entry point at the rear of this structure. The timber was sourced from Coillte’s forest in Co. Cork and sawn by the Glennon Brothers. The Vessel consists of 5,500 individual pieces and is a 9 meter high structure which was assembled by GEM construction in Longford.

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la Biennale di veneziaPlaces, Heights and depths

lottie smith

The installation named Places, Heights andDepths was made by Robbrecht & Daem architects and Marie-Jose Van Hee. It presents their projects in Flanders, Antwerp and Ghent of buildings in historical places in cities that people have been gathering at for years.

These are all places of common ground, meeting places of atmospheric history and fame that both visitors and residents congregate in.The film playing continually as part of the installation displays artists the architects collaborated with to design these buildings.

They are interviewed about how they relate to architecture with art and what our common soil and ideas are?

The film is presented under a hanging sculpture made by Cristina Iglesias. It is a series of woven metallic elements which create a layered tapestry effect.Described as ‘flying carpets’ they totally incase and produce a protective atmosphere for the film to be viewed in. The lights installed above the piece illuminate the work casting unique shadows across the seating area.

This forms a tranquil secluded space, separate from other work in the room.

The shadows create the barrier between gallery space and viewing space, forming a sitting area, a shared space, between the persons watching the film.The sculpture creates a common ground of feelings and emotions of comfort to sit and view the film in. The lighting was warm and golden to conspire with the copper material of the sculpture.

The space that is created could be used as a meeting point within the gallery which represents the architects projects of common ground in the historical spaces their buildings were built in. Marie-Jose Van Hee speaks herself of space, natural materials and light in the video so the sculpture mirrors this perfectly.

Realisation, recognition and repetition create a common ground.

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la Biennale di veneziathomas struth

chantelle stewart

Unconscious Places / Thomas Struth

Thomas Struth is a German photographer, noted for his cityscapes, detailed architectural photography and family portraiture. Struth’s Unconscious Places, a “comprehensive body of work on streets and architecture” spanning forty years, was exhibited in the Arsenale as part of the 13th Venice Architecture Biennale.

The exhibition is accompanied by a new book, also Unconscious Places (2012), which includes an essay - Thomas Struth’s City - by the writer, sociologist and urbanist Richard Sennett. In it, Sennett writes of three architects’ responses to Struth’s work - principally his image of Düsselstrasse, Düsseldorf (1979) - and what those responses might mean for architectural design practice. Here we briefly consider their resonance with the street-life of Venice.Complexity and Texture

In Düsselstrasse, Richard Burdett’s reads an example of good vernacular building, where “a mixture of different forms serv[e] the same function”, as opposed to a “tight knit between form and function” (Sennett 2012, 54).

Smallness of Life

David Chipperfield responds particularly to the “proliferation of small balconies” that speaks of the accretion of private spaces and their overlapping with the public, and signal of the life of a street (Sennett 2012, 54).

Nature of the Grain of the City

David Adjaye sees continuity in the rebuilding of bombed Dusseldorf within the street-pattern and footprints of demolished buildings and the pursuant “primacy of street design over building design” (Sennett 2012, 54).

Sennett concludes by suggesting that the architects’ response suggests that each scene is “worthy of just that emotional investment in ordinary places” that Struth himself, an artist, makes. Just as, for Sennett, Düsselstrasse “might be a good place to live” then so in our extrapolation, Venice ought to be thought of more as it’s potential to be a living city, rather than a gilded tourist attraction.

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The Japanese pavilion (top) won the Golden Lion award this year for the best national contribution to the biennale. They have exhibited works around the idea of the realities of everyday life, and question if architecture is necessary, or how it can impact the everyday. Focusing on ‘Common Ground’ Japan have stated through their works that architecture emerges from the people, and can therefore reach out towards something universal.Designed by Takamasa Yoshizaka 1956.

Grafton architects won the Silver Lion award this year for most promising practice. Their campaign looked into architecture as a new geography and is located in the central pavilion in the Giardini. They have explored the theme of ‘Common Ground’ by highlighting the importance of collaboration and openness to external influence.



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O’Donnell and Tuomey have titled their exhibition within this years biennale as ‘Vessel’. The two-story structure based in the Arsenale provides a contemplative space for the visitors to the biennale. Within in the structure, internal shelves house models and works by Liam Flynn, Alvar Alto and Le Corbusier, as well as many other architects, artists and poets, encompassing backgrounds of all these works. The collaboration of all of these works are portrayed as inseparable from practice and are ‘Common Ground’ between professions as well as just architects and architecture. The ‘Common Ground’ also explores the relationship between physical and intellectual contexts of architecture.

MVRDV + the Why Factory are presenting their current projects titled ‘freeland’ at the Venice Architecture biennale. The project is an urban planning proposal for the city of Almere. It will be exhibited and introduced through an animated documentary and surround video allowing the viewer is transported to and around the town. The neighbourhoods are configured by the inhabitants allowing common ground between architecture and the people including green spaces, agriculture, infrastructure, energy supplies and waste management.



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Chipperfield wanted the projects exhibited in this years biennale to “look seriously at the meaning of spaces.” Architecture is internally connected, and can define the common ground of the city.

Urban Think-Tank have exhibited a project that encompasses every aspect of common ground, collaborating with different professions for the project and creating an emotive campaign about a building that is common ground to many people. I think that this project defines the meaning of common ground, and portrays the ideas that Chipperfield hoped to exhibit through the 2012 Architecture Biennale.Urban Think-Tank are a Venezuelan architect firm, and have this year won the Golden Lion award for best project. Working as a collaboration (reiterating the ‘Common Ground’ theme) with Justin McQuirk a London-based architect, and Iwan Bann a Dutch photographer, Urban Think-Tank have explored the ‘Torre David’ through photographs and installations for the biennale. The ‘Torre David’ is an unfinished, abandoned building in Venezuela. Reaching 45 stories the building functions today as an improvised home for 750 families, being described as a ‘vertical slum’.There has been much controversy about the project, as the award was given for the emotive response to the theme of the biennale, however there is some injustification as to whether the use of high quality glossy photographs glorify the situation, as opposed to the favela that it really is.



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Herzog & De Meuron are exhibiting models of their current project in Hamburg, entitled ‘elbphilharmonie’. They are focusing on the idea that the construction site is a common ground of diverging interests across professions such as architects, engineers, surveyors etc.

As part of the Australian pavilion’s national contribution artist Richard Goodwin has created an installation around Venice integrating the urban fabric of Venice into the biennale. Goodwin has identified uninhabited buildings throughout Venice by marking them with a black dot. This identifies the sites for illegal squatting as part of creating a common ground of Venice. The installation has been seen as a positive contribution to renew the dying areas of the city.



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The Australian pavilion exhibits the work of Sydney-based architects supermanouvre. They have created an installation of a wall of bent steel using lines of code programmed to a file to factory robotic code and was created without the use of a single drawing using the grid-like structure to doffuse space.

The Great British pavilion is hosting their campaign this year titled ‘Venice Takeway’. The work is based on the idea of sharing across borders, reiterating the theme of Common Ground; following a group of explorers’ journey through a number of countries undertaking expeditions that challenge relationships, politics and structure that surround architecture. The areas include Argentina, Brazil, China, Germany, Japan, The Netherlands, Nigeria, Russia, Thailand and USA, exhibiting the creative potential of sharing ideas across borders.

The German contribution, hosted in their national pavilion featured below, is based on the topic of ‘Reduce, Reuse and Recycle.’ The exhibit houses 16 projects as an affirmative approach to waste hierarchy, adapting existing buildings and reducing waste through the transformation of material into reusable substance.



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Historical development

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One Of The Few Cities In The World That Can Be Truly Described As ‘Unique’.

It survives against all the odds, built on a series of low mud banks amid tidal waters of the Adriatic and regularly subject to floods.

Once a powerful commercial and naval force in the Mediterranean, Venice has found a new role. The palazzo has become shops, hotels and apartments, the warehouses have been transformed into museums and the convents have been turned into Centre’s for art restoration.

Venice is built on a patchwork of morethan 100 low-lying islands in the middleof a swampy lagoon. To overcome these extremely challenging conditions techniques unique to he city, building with impermeable stone supported by Larchwood rafts and timber piles.

This method proved effective and mostVenetian buildings are remarkably robust, many having stood for at least 400 years. By 1500 the city had taken on much of its present shape and only since the 20th century has further building begun to alter the outline.

In the 6th century AD, Venice has been no more than a collection of small villages in a swampy lagoon. By the 13th century it ruled Byzantine and, in 1508, the Pope, the kings of France and Spain and the Holy Roman Emperor felt compelled to join forces to stop the advances of thispowerful empire.

Their combined armies sacked the cities of the Veneto. Venetian territorial expansion was halted, but it continued to dominate the eastern Mediterranean fro another 200 years.

The Venetian system of governmentcame as close to democracy as anyonewas to devise until the 19th century, andit stood the city and its empire in goodstead until the bumptious figure ofNapoleon Bonaparte dared to intrudein 1797. But by then Venice has becomea byword for decadence and decline,the essential mercantile instinct thathad created and sustained the SereneRepublic for so long having beenextinguished.

Historical developmentconnor Backhouse

Basma ajoorabdulrahman Bucheeri

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Historical developmentarea and Population Map

connor BackhouseBasma ajoor

abdulrahman Bucheeri

Highest Population Density

Lowest Population DensityJewish Quarter

Castello

AScola Spanish was built in 1584 by the Spanish people who had immigrated to Venice. The Spanish Jews were the richest of Jews in the ghetto. The buildingwas restored in 1635 and operates still as a synagogue.

BScola Levantine was built in 1575 by the Levantine people who had immigrated to Venice. The Levantine Jews were richer than the majority of Jews in the ghetto, the synagogue is lavishly decorated but is unrecognizable as a synagogue from outside.

CThe Scola Canton was built in 1531 and is one of the oldest synagogues in Venice. It is located on the top floor of a regularlooking vernacular building as tonot draw suspicion as to Jewishactivity.

DThe Scola Grande Tedesca was built in 1528 and is the oldest of the synagogues in Venice. It occupies the top two floors ofan ordinary building with the large windows being the only recognizable feature. The doors covering the holy ark inside have the ten commandments inscribed on them and the tree of life onthe reversal.

EOratorio dei Crociferi was built inthe 12th Century as a shelter forthe crusaders and pilgrims onroute to the holy land. In the 14thCentury it was converted into ahospital for women. It is now amuseum.

A

B

C

D E

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A

B

C

D

E

F

GH

AMuseo Diocesano d’ Arte Sarca was opened in 1932. It was opened in what was a Benedictine monastery dedicatedto Sant’Apollonia, the museum is home to a collection of religious art work. The cloister outside of the museum is a rare example of the genre in Venice. The building off the side of the museum was achurch until 1906, renovated into a house for the exhibits.

BThe church of San Zaccaria was built in 827. The church was rebuilt in 1170 and replaced with the present day Gothic style in the 14th Century.

CSan Giorgio dei Greci was built in 1548. The bell tower was later added in 1592. In 1593 the dome was frescoed with theLast Judgement. Inside there is a monument to Gabriele Seviros which was erected in 1619.

DLa Pietà started getting built in 1745 but it wasn’t until 1906 until the facade that is iconic to Venice today was finished. Vivaldiwas violin and choir master here through the 18th Century..

EThe church of Santi Giovanni e Paolo was built in 1430. In 1266 the Doge had a vision of doves flying over the land and a church was built, this was demolishedin 1333 for the present day structure.

FScula Grande di San Marco was built in 1260 by the Confraternity of San Marco. In 1460 however there was a fire and in the following 20 years was rebuiltunder a new design.

G & HThe Arsenale was built in 1104. The Arsenale was responsible for the bulk of the Venice’s naval force and provided the majority of trading vessels generatingthe economy until 1797 when Napoleon conquered the area. The Biennale Gardens were created in the 19th Century byNapoleon after he had invaded Venice.The Biennale Art festival was first started in 1895 including locations in the Arsenale and the Bienalle Gardens held every two years for six months. In 1932 the first film festival was also held here as part of the Biennale until being moved onto the lido for future festivals. The Biennale is still held at these locations andis one of Venice’s major links to modern society.

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A B

C

D

E F

ACircolo Golf Venezia was openedin 1928 as an 9 hole course butwas later changed to an 18 holecourse to bring in tourism. Thegolf course is the only course inVenice and is high in demand.

BVenice Casino was built in 1938and was a hub for gamingenthusiasts and lovers of theexclusivity bringing in an influx oftourists. The casino was closed in2000.

CGrand Hotel Excelsior was builtin 1908. It is the home of theinternational film festival andhas been since 1933. With onlya few years where the festival isnot classed as running, duringthe war when only axis countriescould enter, it has ran every year.

DGrand Hotel des Bains was built in1900 to attract wealthy tourists tothe Lido. The hotel has been usedin several films and inspired thenovel, “Death in Venice”. The hotelwas closed in 2010 to be turnedinto luxury apartments.

ESan Nicolò al Lido was built in1044. The monastery and churchwere stood as the strategic pointof the Venetian power at theentrance to the sea from Venice.In 1202 the crusaders left fromthis point on the Lido.

FMarco Polo International Airportwas built in 2002 on top of theairport which was built in 1960.The airport is already at fullcapacity on demand with moreflight paths wishing to open.

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Historical developmenttimeline



421 570 639 814 827 832 1000 1000 1044 1084 109512th Century

Mass migrationto the lagoonincludesimmigrantsfrom the RomanEmpire

TorcelloCathedral built

Work begins on Doge’s Palace

Church of San Zaccaria is built

Basilica SanMarco builtbecoming themost iconic partof Venice

Venice ridsthe Adriaticof pirates,commemoratedby the marriageof the Seaceremony

Map 1 showsthe Republic of Venice on the map, Venice is on the start of building its maritime conquest andconquer theAdriatic

San Nicolò alLido is built

Map 2 showsthe Republicof Venice,since 1000 therepublic hascaptured Ragusaoff of Serbia

Venice providesships andsupplies in thefirst crusade Oratoriodei Crociferifounded asa shelter forCrusaders

Oratoriodei Crociferifounded asa shelter forCrusaders

Venice isfounded by refugees from the RomanEmpire fleeingwar setting upin the lagoonsuspecting thefollowing warto stop chase at the view of the lagoons size

Prohibitionplaced onJews buildinga synagogueto furtherdiscourageJewish peo-ple inthe city

Church of SantiGiovanni ePaolo is built

Venetian Empirereaches itszenith withpower fromit’s maritimeand powerfullocations

Influx of Jewishimmigrants

Map 3 showsthe Republicof Venicewhich hasnow capturedmost of Veronawithout toomuch struggle,Venice ownsmost of theAdriaticalthough theOttoman Empirehas grew in forceand is starting toput pressure onthe Republic ofVenice

Jews forcedto wear ayellow hat for recognition

Jews forced to wear a red hat for recognition

Ghetto Nuovais opened asthe Jewishexpansioncontinues out ofthe original land

Scola GrandeTedesca is builthidden fromsight by look-inglike a regularbuilding

Scola Canton is built near Scola Grande Tedesca

Ghetto Vecchiois opened

Prohibitionplaced on Jewspurchasingland to tryand stop theJewish peoplefrom spreadingthrough the city

1423 1453 1492 1494 1496 1500 1516 1528 1531 15411426 1430

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Arsenale isbuilt to housethe bulk ofthe Venetianmaritime powerbuilding fleetsand housingthem

First Rialtobridge builtmade out ofwood until itburned downthen replacedwith stone

Treaty of Venicesigned unifyingVenice

Crusaders camp on the Lido unable to affordto pay their way into the city

Venice plunderConstantinople,four bronzehorses includedin the plunder

University ofPadua builtbringing morescholas throughthe Republic of Venice

Scula Grandedi San Marco is built

Work begins on present Doge’sPalace

Black Deathkills halfof Venice’spopulation

Jews forcedto settle inCannaregiodue to Jewishcitizens notwelcome withinthe city sopushed ontoundesirable land

Jews forced to wear yellowbadge forrecognitionwhist inside ofthe city limits

Arsenale isbuilt to housethe bulk ofthe Venetianmaritime powerbuilding fleetsand housingthem

Scola Levantineis built by theLevantineimmigrants toVenice

Scola Spanishis built bythe Spanishimmigrants to Venice

Bell tower isbuilt for church of San Giorgiodei Greci

Plague claimsthe lives of 450 Jews

GhettoNuovissimois opened forwealthier Jewish people

Plague reduces the populationto its smallest for 250 years

VenetianMaritime Empireends with theloss of Morea

Sea wallsto protectthe lagoonentrances arebuilt creatinga calm to thelagoon andalso creating abetter defensiveposition

La Fenice opera house is built

Map 4 showsthat theRepublic ofVenice hasnot changedexcept for losingsmall islands toRagusa, Austriais also forcingits way acrossthe map andthe OttomanEmpire is slowlyenclosing

HapsburgEmpire takes rule of Venice

Church of SanGiorgio deiGreci is built

1104 1177 1202 1204 1222 1260 1309 1348 1385 1394

1548 1630 1630 1630 1718 1752 1790 1796 1797

1171 1173

1575 1584 1592

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BiennialeGardens arecreated underNapoleons rule

Map 5 showsthat theRepublic ofVenice hasjoined theKingdom of Italy losing severalislands onceowned and a lot of power

VenetianRepublic takes rule of Venice

First bathingfacility in Europeopened startingthe Lido’s rapidexpansion andalso pushingVenice intotourism

Italy is unified

Jewish peoplerequire equalstatus and areaccepted as thesame by thecitizens of Venice

Suez Canal isbuilt bringingin trade andtourism toVenice

First Biennale art exhibition so successful that it is held until present

Grand Hotel des Bains is built becoming one ofthe most famoushotels in Veniceinspiring thenovel, “Death in Venice”

PiazzaSan Marcocampanilecollapse

La Pietà’s facadeis completed

HapsburgEmpire liberatesJewish peoplepulling the gates once armed withChristians down

Marco PoloInternationalAirport isopened

Experimentalstage of MOSEflood barrieris completed,controversialin that it is nota permanentsolution to theproblem

Constructionfor lagoonflood barrier isapproved

Floods causedamage withhalf of Vicenzaunder water

Venice issaved afterundergroundwater extractionis prohibited

19th 1797 Century 1848 1857 1866 1866 1869 1895 1900 1902 1906

1988 2002 2002 2006 2010

1810

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Circolo GolfVenezia isopened

Venice is linkedto mainlandby causeway,a controver-sialmove whichbrought a lotmore tour-ism toVenice

MuseoDiocesano d’Arte Sarca isbuilt

First Venice FilmFestival held inthe Biennale ArtExhibit

Internationalfilm festivalfirst createdproving to be sosuccessful it isheld every yearin the Excel-siorhotel

Venice Casino isbuilt becom-inga giant megastructure onthe lido notfollowingtypical Venetianstyle with itsaesthetics

205 Jewishpeople deportedto extermina-tioncamp begin-ningtensions withthe Jewishcommunityresulting in thepopulation dropto just 30 Jewishresidents inCannaregio

Venice Airportis built

Floods causedevastationin Veniceprompting“Save Venice”appeal

VenetianCarnival isrevived furtherpushing Veniceinto tourismwith the iconicmasks

Venice stopssinking but isstill at alert dueto the risingwater levels

Grand HotelExcelsior is builtbecoming oneof the mosticonic hotels isthe Lido

1908 1932 1932 1938 1939-45 1960 1966 1979 19831928 1931 1932

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AD 313 Triumphal Arches

Early period:-Ancient Roman architecture adopted certain aspects of ancient Greek Architecture producing a new architectural style- Major architectural elements during this era:1-Domes (Permitted construction of vaulted ceilings and shape large interior spaces)2- Arches ( Aqueducts - Series of Arches assist in transporting water over a long distance)3- Vaults

Main materials used:-Concrete, Bricks and Marble (representing victories, prestige, power and money)- Concrete aided construction of broad arches and domes supported by large pillars. It also inspired the design of the colonnade screen. (Decorative columns)-Concrete construction was more flexible & less costly than building solid stones.

AD 832 ST Mark’s Basilica , Venice (A combination of classical , Byzantine, Gothic & Romanesque architecture)

Middles Ages:-Romanesque Architecture- Combining features of Roman and Byzantine buildings and other local traditions.

- Development of Arches (Mainly round / semi circular arches)- Romanesque style consists of:1-Massive quality2- Thick walls (with small openings- Buttresses are not significant due to wall’s massive nature)3- Round / semi-circular arches (doors and windows/ vaults and arcades)4- Sturdy piers5- Decorative Arcading6- Groin vaults7- Simple/defined/symmetrical forms8- Minimal ocular windows9- Majority of buildings have wooden roofs

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AD 832 ST Mark’s Basilica Venice (Domes)

1225 Fondaco dei turchi , Venice

Byzantine architecture influence:

-Facades are recognizable by their ground - floor arcades and arched open galleries which run the entire length of the first floor.-Simple motifs feature leaves or palm trees- Romanesque architecture in common with Byzantine architecture relies upon its walls or section of walls called piers.

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1424 Doge’s palace , Venice

Middle ages:Gothic Architecture(late 12th - mid 15 century)

-Appeared in Italy in the 12th century-Traditional construction was kept-The style developed in the 12th century into Gothic style characterized by pointed arches and rose windows and stained glass.

comparison to Romanesque Architecture:- Stained windows were reduced in size- figurative decorations were banned / lack of embellishments-Verticalism is reduced-exterior bell towers are absent-Oval rectangular groin vaults and clustered piers of smaller columns which continue with engaged pillars to the vaulting ribs.-Capitals have simple decorations- Buttresses were used as support

Materials used: Brickwork and stone

1452 Palazzo foscari, Venice

-A fine example of a 15th century venitian Gothic style with its finely carved white istrian stone facade and pointed arches.-Gothic capitals are adorned with foliage animals and faces

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1452 Palazzo foscari, Venice (windows)

-The interlacing ribs of pointed ogee arches create a delicate tracery-three-leaved window heads are typically Gothic -Quatrefoil patterns on elegant gallery win-dows

1425 Corinthian pilasters on the portal to San Giovani of evangelista, Venice

The Italian Renaissance begins (between 15th - 17th century):

-It is an artistic, political, architectural, cultural, social movement originated in Tuscany.-Influenced from classical ideals of ancient Greek and Ancient Roman civilizations.-Architecture & engineering developed (Brunelleschi’s Dome)Renaissance style consists of:-Symmetry/proportions/geometry-Classical Antiquity and influenced from Ancient Roman Architecture-Orderly arrangements of columns, pilasters, lintels, semi- circular arches, hemispherical domes, niches-Complex proportional systemsHigh renaissance: -Development of style by the architect Bramante (1444-1514) who integrated classical architecture to contemporary buildings

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1556 Palazzo Grimani, venice

-Renaissance Architecture-Has lavish stone carving which none but the wealthy could afford- Massive foundations were constructed to bare the incredible weight-Roof: bold projecting roof cornices are a feature of Renaissance Architecture.-Theatrical masks serve as keystones to window arches-The venitian door: a very popular Renaissance motif, has a rounded central arch flanked by narrower side openings. This combination was also used for windows.-Corinthian collumns used

1566-1569 Villa Capra “La Rotanda”, Vicenza (About 60 km West of Venice)

-Renaissance Architecture- Symmetrical building of a square plan with four facades-the design reflected the huminist values of Renaissance architecture. (emphasizing on human/rational values)-the dome design was influenced by the Pantheon in Rome-Some of the buildings in Vicenza illustrate similar aspects of styles from venitian architecture. (Such as Domes, Symmetry, Values etc)

1582 Palazzo Balbi, Venice

Baroque Architecture ( early 17th century)

-Venitian Baroque has its roots in the Renaissance classical style but is far more exuberant-Revelling in bold ornamentation that leaves no surface uncarved-Oval forms-Fragmentary/deliberately incomplete architectural elements-Rich use of color and ornaments, plaster, stucco marble-External facade characterized by dramatic central projection-interior used as a shell for painting/sculpture/stucco-Pear shaped Domes-Square symmetrical Appearance-In Palazzo Balbi: Semi- Circular window head of Palazzo Balbi of two lights spandrel decorated with a circle

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1687 Santa Maria Dela Salute, Venice

-- Vaults dont have ribs/ They are semi-circular and on a square plan (unlike the Gothic vault which is usually rectangular)- Domes: Used frequently - such as in Santa Maria Dela Salute - During the middle ages they were rarely used however after the success of Brunelleschi’s dome - the dome became an indispenseble element in church architecture.-Ceilings are fitted with flat or coffered ceilings. They are not left open like the medieval architecture. They are mostly painted/ decorated.-Santa Maria Dela Salute incorporates:-Complicated Shapes-Large curved shapes-High Dome-Sculptural/Classical ornaments-Played with light and shadows which are set on richly ornate facade- Influences came from sea trade which moved not only goods but also artists, scientists amd philosophers.

1755 Santa Maria Del Rosario(Gesuati)

Rococo Architecture (18th century)Also refered to as (Late Baroque)-An artistic movement and style that developed in france as a reaction against symmetry and strict regulations of boroque.-Usage of creamy pastel colors, with playful artistic themes

Santa Maria Del Rosario :-Asymmetrical Design-Curves-Playful theme (in contrast to Baroque)-ornate decorations with pale colors-Giant Corinthian Pilasters support a heavy triangular pediment

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1452 Palazzo Emo Diedo Santa Croce venezia

Neoclassical (1750 - 1850)

-Rococo went out of fashion, the style returned to simple elegant classicism of architecture in ancient Greece, Rome and Renaissance Architecture.

Palazza Emo Diedo Santa Croce incorporated Neoclassical elements such as ::

-Triangular pediment- Symmetrical Shape-Derived from classical Greece/ Rome

E1 Residential Building, Giudecca, Venice

Modern/ contemporary Architecture (Late 19th and 20th century) consists of:

-International styles-functionalism-Simplicity-Lack of ornaments

Colosseum

An example of Triumphal Arches built in the early periods in Ancient Rome.

Arch of Constantine

A triumphal Arch in Rome situated between colosseum and the palatine, built in the early periods.

Classical Roman Orders

Left to right:ionic- Corinthian - Composite

Types of Vaults

Ogee Arches - is a curve, shaped somewhat like an S consisting of two archs that curve in opposite senses so that the ends are parallel.(maily shown in Gothic style)

Brunelleschi’s Dome - Sets an example of great ambition - Note: development of Domes after his successful achievement

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Myths legends and stories

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Stories are the building blocks of modern culture, what adults tell their children teaches them lessons which have been passed down from generation to generation.

Although these stories are filled with hard to believe connotations they have hidden meanings such as; don’t play in the park at night, don’t play in the lagoon or be friendly with your neighbours.

It has been a valuable thing to teach the young of society these stories to safe guard them against the dangers of the current environment and as the environment changes the stories with it does to continuingly highlighting the dangers of it .

Myths legends and storiesMatthew Redding

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Ever since, old fishermen have avoided fishing squid up from that portion of the lagoon as they claim the squids possess the eyes of a woman.

It was found by some boys who had been swimming at the end of the fondamenta.

Linda Cimetta was murdered by two men. They strike Linda on the back of the neck, sawing her into pieces, stuffing her into a trunk and then dumping it into the lagoon however police could not recover the trunk from the water.

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The ghost was recognised as one Giuseppe Zolli, it was decided to commission a bronze statue of Zolli to put behind Garibaldi’s statue.

From that day the ghost stopped appearing.

It attacked passers by tripping people up and shaking them roughly.

Near Garibaldi’s statue in the gardens, a ghost appeared in a red shirt.

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Bartolomio was last seen alive refusing to help his neighbours save their children from the flames as he was too busy dragging his personal belongings to safety.

He reappeared a few nights later in a spectacle of burning flesh as the old man succumbs to a fiery skeleton clawing for help.

It is said that Bartolomio will continue to walk the streets of Misericordia until someone helps him carry his burden to the church of Santa Fosca.

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Burrattino is a minor character from the Commedia dell’arte.

The puppet’s influence in Italy was so great that by the end of the sixteenth century, all marionettes operated by strings and a wire were called burattini, instead of bagatelli or fantoccini, as they had been known up to that time.

It also became known in Europe as Pinoccio.

Colombina is a comic servant character from the Commedia dell’Arte.

Colombina she was also known to wear heavy makeup around her eyes. She is mentioned several times within the fairy-tales written in Venice.


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Pulcinella is a classical character that originated in the Commedia dell’Arte of the 17th century, a hunchback who still chases women.

Pulcinella was the model for Punch in the English variation Punch and Judy.

In Latin, this was a pullus gallinaceus, which led to the word “Pulliciniello” and “Pulcinella”, related to the Italian pulcino or chick.

Dottore Peste is a modern Venetian Carnival mask.

One of the worst scourges for the city of Venice was without any doubt the Plague because of this the Plague Doctor isn’t a real mask but was a disguise used by local plague doctors.

The mask protected the face which included crystal eyes to protect the wearer’s eyes and the beak which was stuffed with spices or herbs to purify the air that the doctor breathed.


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Mistakes - Past and current

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Mistakes - Past and currentMelanie Backhouse

adam HegabJack Brown

dali almaeb

GRAND HOTEL DESBAINS

Wooden foundationssetup

The wooden foundationsare starting to rot away -instability

Instead of the wooden piles, thefoundations should be of steel,extending down to hit bedrock.As the building conditions onthe Lido can be very unstable.

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After August During Summer

The Venice Film Festival takes placeannually on the Lido, in the monthof August, on the first floor of theHotel Excelsior.Therefore this adds more reason forattracting people to the Lido duringthe summer.After August the Lido is very dry,and inactive, apart from the locals, itdoes not get much touristic attractionas the main activities on the islandall take place during summertime.Although the weather is completelysuitable for swimming activitiesduring September and early October.On the beach there are mainly constructionworkers and maintenance,preparing for a busy summertime.

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dali almaeb

After August During Summer

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Residential

Public. i.e. Grand Hotels/Sports Complex

Walking Route

Excelsior private taxi dock

A

B

Superstructures of VeniceMelanie Backhouse, Adam Hegab, Jack Bown, Dali AlnaebAnalysis

Transportation around the Lido can be extremely hard. As the Lido is mostly residential, everybody has their own private cars. For instance, as shown on the diagram. Getting from point A (Vaporetto Stn) to point B (Hotel Exc.) had to be on foot, taking about 25 minutes (if not serviced by the private hotel water-taxi). However, some people visit-ing big hotels like the Excelsior, ship their own cars to the Lido, that of course being a very costly solution to the inefficient transport system on the Lido.

Hotel Excelsior, being one of the most luxurious hotels in Venice, offers their own private Watertaxi service to and from the hotel. Cus-tomers requiring this service can be picked up from the stations in Central Venice and delivered to the Hotel on the Lido.

Upon arrival to Lido on the Vaporetto, the only means of public transport are buses with routes on the edge of the island going to other ports, such as Chioggia. There are a few buses however into Lido itself, but it does not spread out to all the streets, and its ar-rival times are inaccurate/infrequent.

Residential

Public. i.e. Grand Hotels/Sports Complex

Walking Route

Excelsior private taxi dock

Mistakes - Lido, Transport



dali almaeb

Hotel Excelsior, being one of themost luxurious hotels in Venice,offers their own private Water taxiservice to and from the hotel. Customersrequiring this service can be picked up from the stations in Central Venice and delivered to the Hotel on the Lido.Transportation around the Lido canbe extremely hard. As the Lido ismostly residential, everybody hastheir own private cars. For instance,as shown on the diagram. Gettingfrom point A (Vaporetto Stn) topoint B (Hotel Exc.) had to be onfoot, taking about 25 minutes (if notserviced by the private hotel water taxi).However, some people visitingbig hotels like the Excelsior, shiptheir own cars to the Lido, that ofcourse being a very costly solution tothe inefficient transport system onthe Lido.Upon arrival to Lido on the Vaporetto,the only means of public transport arebuses with routes on the edge of theisland going to other ports, such asChioggia. There are a few buseshowever into Lido itself, but it does notspread out to all the streets, and its arrivaltimes are inaccurate/infrequent.

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future Projections

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future ProjectionsRyan danieljamie sample

Venice has many factors affecting its future. They include rising sea levels, increasing numbers of tourists as well as the fact that the city is actually sinking.

Flooding in the city has become a way of life during the winter months and prevents city from functioning, schools cannot open and boats are unable to get under the bridges. The city is prepared for moderate flooding and is able to put walkways above the flooded pavements.

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1900

In 1900 the water level in venice was 9 inches lower than it is today. The main reason for this drastic difference is because of the ground water pumping that was taking place at Porto Marghera.

Present Day

Today the water is level well above the waterproof stones that laid on top of the wooden piles that were driven into the many layers of river sediment. This means that now the salt that is in the water is attacking the bricks.


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Acqua Alta

Acqua Alta (high water) in Venice is a regular accurence between mid October and January. It can reach up to 4ft above the regular water level in the city. Due to it happening so often, many residents have moved up from the ground floor to the first floor in their homes.

2100

The projected water level increase for Venice was 5 inches per century. However the data that was used for this projection didnt take into consideration global warming. As a result the likly water level of Venice in 2100 will be 18-20 inches above what it is today.


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Venice 2012

This is how Venice, its surrounding island and the mainland look at present, with the 3 inlets into the lagoon from the Adriatic Sea. However as sea levels rise over the next few centuries this is expected to effect Venice with massive consquences.


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Venice 2100

The sea Level is predicted to rise between 18-20 inches over the next century, as a result there will no lomger be just 3 inlets into the lagoon. The Lido, which protects Venice from the sea has been divided into 3 smaller islands and the protection it gives to Venice has been dramatically reduced. Also some of the mainland has given way to the lagoon which is slowly becoming a part of the sea.

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Venice 2200

The MOSE gates would have become abselete towards the end of the 21st century due to the amount of inlets that would have beeen created by the rising sea levels. By 2200 these gaps will have become even larger and Venice will have lost all of its protection from the Adriatic Sea, meaning that preventing flooding will be incredibly difficult.

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Venice 2012

The map above shows how the infrastructure, that supports Venice, will be affected by the rising sea levels. The areas in red show the farming area that provides food for the city.

The yellow area shows the service hub which caters for all of Venice’s power, utility and waste needs.

The brown are shows where Mestre in comparison to Venice.

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Venice 2100

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Venice 2200

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1966 Venice flood.

In 1966 Venice suffered a flood with water levels 6.5ft above normal. This pushed forward a discussion on how best Venice should be protected from the sea. 47 Years later construction has begun on gates that would be able to protect the city from Acqua Alta and tides up to 9.8ft. The gates are expected to be completed in 2014. The expected life of the gates is around 100 years, however many experts believe it will be several decades before this date when the gates will become obsolete.

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MOSE Gates

These gates will be placed between the 3 inlets, they are air powered and will be turned on when Acqua Alta is predicted. Although the problem of pollution does not currently worry many people, we can see it becoming a problem in the future when the gates will have to be closed more frequently, as Venice doesn’t currently have an independent sewage system.

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MOSE Gate Locations

The 3 inlets are currently the only openings from the lagoon into the sea. However with the sea levels predicted to rise 18-20 inches in the next century it will greatly affect these openings, making them larger as well as creating new ones.

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The large red highlighted area show where the majority of Venices current residents live. They are away from the tourist trap whilst still being close to transport links to the mainland (shown in grey).

The darker red highlighted spots represent the Venice International University, which attracts thousands of students to the city from all over the world.

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The red dots highlight the locations of hotels and hostels all across the city. Every year Venice attracts 15 million visitors, many of which do not stay longer than a day, however there are still many hotels throughout the city and its surrounding islands.

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Current university size

Every year Venice attracts thousands of architecture students that come and admire the vast array of historical structures. A possible projection for Venice is that it becomes one huge university spanning across the whole city. it seems like a logical purpose for the city considering it can no longer sustain itself without tourism and due to the majority of residents moving away to the mainland due to the tourists, but also the attractive prices they can obtain for their properties. If it were to become one large university it would mean that the city would be able to sustain itself through its new permanent residents, students.

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Projected increased university size.

The red area above highlights the area where the proposed larger university could be sited and shows the size of the structure in comparison to the rest of Venice.

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image of the city

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‘An Analysis of the City of Venice: An Adaptation of Kevin Lynch’s Mapping Techniques The Image of The City’ was written byKevin Lynch, the book analyses a varietyof cities including Boston, Los Angelesand Jersey City.Lynch uses several techniques to analyzethe cities, splitting them into 5 categories:PathsPaths are channels along whichthe observer potentially moves. Theymay be streets, walkways, transit lines,canals or railroads. For many people,these are the predominant elements intheir image.EdgesEdges are the linear elementsnot used or considered paths by the observer. They are the boundaries between two phases, linear breaks in continuity: shores, railroad cuts, edges development, walls. These edge elements, although probably not as dominant as paths are for many people important organizing features, particularly in the role of holding together generalized areas, as in the outline of a city by water or wall.DistrictsDistricts are the medium-to large sections of the city, conceived ofas having two-dimensional extent, whichthe observer mentally enters “inside of,”and which are recognizable as havingsome common, identifying character.LandmarksLandmarks are a type ofpoint-reference. They are usually a simply defined physical object: building,sign, store or mountain.NodesNodes are points, the strategicspots in a city. They may be primarilyjunctions, places of a break in transportation, a crossing or convergence of paths, moments of shift from one structure to another. Nodes can also be concentrations.VeniceLynch’s mapping techniques will beadapted to suit the city of Venice, andspecific areas A, B, C, D and E will beanalyzed.PathsThe paths will be divided intowater paths and land paths. The canalsin Venice are major paths, unlike othercities where the major paths are on land.EdgesBuilding and water edges. Edgesindicate the built density of an area.DistrictsDistricts will be shown as landuse, divided into religious, residential,park/recreation, industrial and commercial.LandmarksPoints which can be identified by the observer (tourists and Venetians).The main landmarks are churches,but there are also other buildings,such as the university, historical buildings and supermarkets.NodesJunctions, points of diversionand crossings. Concentration areas suchas squares.

image of the cityJordan Blacker

nathalia azevedoMohamed Mahmood

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Vaporetto stopMajor LandmarkMinor Landmark

Major nodeMinor node

Water paths

Church

NodesMost of the nodes found are on the bridge crossings where people pass and converge to get across the canal. The larger nodes are located in the squares found across this area. There is a major node in the Southern area where two very large paths converge causing a bottle neck effect.

Water PathsThe water paths are very important transport routes in this city as there is no road access. Due to the lack of roads the water paths become the primary mode of transport. In this area there are various small canals and there is also the Grand Canal, the main canal in Venice.

LandmarksThe landmarks in Venice are difficult to identify prior to visiting the area. We have looked at both tourist landmarks and everyday landmarks, but another map will be produced after the visit to the area. The vaporetto stops are a crossover which is used both by the Venetians and by the tourists. The major landmarks in the area are churches and the university.

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Land paths

CommercialResidentialReligiousPark/ Recreation

Land EdgeBuilding Edge

Water pathsCrossover nodes

Jewish Ghetto - Composite map

Land UsageThis area is mostly commercial with residential buildings located in the centre. We have included a religious section because the churches are so dominant within the city. This however is a vague picture of the land use in site A which we will research further when we visit the area. New revised maps will be produced after the visit to Venice.

Land PathsThe land paths in this area seems very complex. The major nodes have been included on the map above to show the crossover points between rivers and land paths. A node is present wherever land and water paths cross. The paths of the city will be easily identified when we visit the area, and it will be much more clear which ones are the main paths used by the tourists and locals.

EdgesEdges in Venice are very different to the ones described in the book because there are a variety of interconnecting canals running throughout the city creating water edges. This is combined with the strong building lines creating building edges. The maps above show that the paths in this area are all formed by building edges.

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NodesA lot more nodes were identified during the visit to the area , these are shown on the map above. The minor nodes identified are mostly street diversions and convergence points. There is a higher number of minor nodes in the residential areas. The major nodes are squares and major points where streets meet. The bridges are also important nodes.

Water and Land Paths The water paths in this area are used for public and private transport. The vaporetto runs through the Grand Canal and there are smaller/private boats used throughout the area. All the services in the city use boats as the main transport, those services include police, ambulances and refuse collection. The main land paths are by the canals, highlighting the importance of the water paths but there are many other land paths through the narrow streets and alleyways.

Land pathsWater paths Major nodeMinor node

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LandmarksThere are various landmarks in this area, most of these are churches and historical buildings but there are also supermarkets and vaporetto stops which are easily identified by people walking through the area. There is a higher number of historical buildings around the commercial zone this suggests that the commercial zone originally developed around these because this is the area where there is a larger concentration of people.

Land UsageThe area is mostly residential hence there are many churches and synagogues spread throughout the area. It is very clear that the commercial zone is around the main street and also facing the canals. There is an industrial zone on the North of Cannaregio, this location allows easy transportation of goods because it directly faces the lagoon.

Vaporetto stopChurchMajor LandmarkMinor LandmarkReligiousCommercialIndustrialResidential

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Water Paths

Major landmark

Minor landmarkChurch

Vaporetto stop

Major NodeMinor Node

NodesIn this area of the city nodes mainly consist of harbours and convergence points, such as bridges. The area is mainly industrial, the Arsenale harbour is a major node. The area is less dense than Area A, therefore the majority of the nodes are major nodes unlike Area A where minor nodes are predominant. Minor nodes in this area mainly consist of diversions in walkways and footpaths.

LandmarksThe vaporetto stops in this area are mainly located on the outer edges. The Arsenale is the main landmark, and there are not many churches in this area compared to area A. The reason why there are less churches in this area is because it is mainly commercial and industrial, churches are usually located near residential areas.

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Land pathsWater paths


Commercial

Industrial

Residential

Religious

Arsenale - Composite map

Land UsageThis area is mainly industrial and commercial, there is a large shipbuilding yard and mainly restaurants and souvenir shops facing the Grand Canal. There are not many churches in this area, these are spread out and are mainly located near the more residential areas.

Water PathsThe canals in this area are comparatively wider than the canals in Area A. This is due to it being an industrial area, wider canals are required to allow larger boats to pass through. The land on either sides of the canals is usually connected by bridges to allow movement between both sides of the canal.

Land PathsLand paths in this area are also much wider than Area A. The path by the Grand Canal is very wide compared to the residential areas, this allows greater movement for tourists and residents who are either walking passed or catching a boat/ferry/cruise at the Grand Canal.

EdgesThe edges mainly consist of building edges and water edges. The building edges are outlined with black blocks while the water edges are outlined with white. This area is located at the end of the main Venice island, there is easy and quick access to the Lido .

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Water paths


Major landmarkMinor landmarkChurchVaporetto stop

NodesUnlike area A and B, there are roads in this area allowing cars, buses and motorbikes. This area has a substantial amount of major nodes, most of these are road diversion points. This area is also much less dense than area A and B, therefore there are less nodes and diversion points.

LandmarksThe main attraction of the Lido is the beach, this is very different from the main island of Venice where there is a large number of historical buildings. The only historical buildings in this area are large hotels and a small number of churches which are shown on the map above. Further landmarks will be identified once the area has been visited.

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ResidentialCommercialPark/RecreationReligious


Water pathsLand paths

Lido - Composite map

Land UsageThe Lido is a holiday beach resort so the area is mostly commercial, mainly the sea front area where most hotels are located. There are very few churches, and the residential areas are located away from the commercial centre of Lido. There is a lack of green spaces, but the area does have the beach for leisure.

Water PathsThe island of Lido is surrounded by the lagoon on one side and the Adriatic Sea on the other side but the number of canals is much lower than area A and B. There are fewer vaporetto stops in this area suggesting that the water paths are not utilized as much due to the existence of roads.

Land PathsThe area is mostly dominated by roads, unlike area A and B the lack of canals suggest that these are mostly used for leisure purposes rather than commuting. The roads and bike lanes in this area allow people to travel longer distances much quicker than in the main island of Venice.

EdgesSeeing as this area is mainly a large spread of land the water edges are not as dominant as they are in areas A and B. The density of the area is also much lower than the other areas, there is much more space between buildings.

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Land pathsWater pathsMajor nodeMinor node

NodesA variety of differences were noticed when the area was visited, these are shown on the map above. One of which was the fact that some parts of the beach are private and only accessible by gated entrances this meant that there are a number of nodes where people diverge to get onto the beach. People also gather on the rocks and piers creating node points on the beach as well as forcing people to diverge around these.

Water and Land Paths Lido is the only island where cars and motorbikes are allowed therefore boats are still used but most people choose to use the roads. There is a public bus system and the existence of roads means these are grided unlike the main island of Venice. Boats are used in the canals and on the West side of the island but these are not allowed near the beach.

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Minor landmarkChurchMajor landmarkVaporetto stopCommercial ResidentialLeisureReligious

LandmarksOne of the various landmarks discovered when the area was visited is the gated entrances to the beach, these provide access to another major landmark which is the beach itself. Another new landmark is the rock piers which extend out to the sea, these provide spaces for people to gather or fish. The beach huts are not shown on the map but these are of great significance in the area and are a very recognizable landmark. It is important to highlight that landmarks may differ in the eyes of a tourist and a Venetian and also during summer and winter.

Land UsageThe commercial zone starts from the vaporetto stop down to the beach. There are various private villas facing the beach and the residential areas are to the West of the island. The beach is used for leisure and there is also a children funfair on the main street.

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ChurchMajor landmarkMinor landmark

Water paths


NodesThe amount of major and minor nodes in this area is substantially higher than the other areas because this area is much more densely populated. And seeing as the area is densely packed the nodes especially the minor ones are considerably close to each other. The island to the left (see map above) is the least dense compared to the islands in the middle.

LandmarksJust like the Lido this area does not have many major landmarks. There aren’t any Vaporetto stops and there is only a small number of churches. The lack of churches and historical buildings is possibly because the area is more of a beach resort than a historical area like the centre of Venice.

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Land edgeBuilding edge

Water pathsLand paths

ResidentialReligiousPark/recreationIndustrialCommercial

Chioggia - Composite map

Land Usage Similarly to the Lido the areas overlooking the sea are mainly commercial due to the beach while the areas that overlook the lagoon are mainly residential. The smaller island on the left seems to be mainly industrial. The green /recreation spaces are much larger than any of the other areas analyzed.

Water PathsThis area is divided into several islands, the larger island to the right (map above) faces the Adriatic Sea on one side and the lagoon on the other. There are no canals on the larger island but there is a substantial amount of canals on the smaller islands. The water paths in this area are used for leisure and also for commercial and industrial use.

Land PathsThe land paths are very linear unlike the other areas, the main road runs through the larger island and then it diverts to the smaller islands on the West. Similarly to the Lido the existence of roads suggest that the residents/tourists do not need to use water transport and instead they use cars, buses and bikes to get around.

EdgesThere is a large stretch of land on the East while the West consists of several smaller islands that are connected together by the means of bridges and are separated by canals just like the main parts of Venice. There is a combination of land and canals in this area and the largest number of building edges is found in the most dense area which is located on the West.

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After visiting the sites and conducting interviews with people who live and visit the designated areas we concluded that what has been predicted is only partially true. People who live in the area see things from a different perspective as the environment becomes part of their everyday. A tourist for example thinks of Venice as a romantic city where one can get away from his busy life, while most Venetians think of Venice in an opposite manner. Concentrating on two areas the Jewish Ghetto and the Lido meant that we could have better focus hence having better outcomes. The samples from the interviews were quite small but the most important question was to describe the area in one word so this can be compared to the maps analyzed and make a conclusion whether Lynch’s techniques are successful at conveying the ‘Image of the City’.

The four areas analyzed are very different, the Jewish Ghetto is mostly residential and the commercial zone is concentrated around one area, the Arsenale area is mostly industrial and commercial, the Lido is residential and also a beach resort, and finally Chioggia is mainly residential but also a beach resort like the Lido as well as having an industrial area.

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Lynch’s analysis method is ideal to compare the amount of landmarks, nodes, paths and land use on the different areas but they do not convey the feeling of that city. As an example the Jewish Ghetto area and the Lido are mostly residential but they are completely different, the houses in the Jewish Ghetto are dense and there is a community feeling as well as a romantic feeling if you are sat in one of the many restaurants by the canal but in the Lido the houses and holiday villas are spread out and the community feeling is gone as there are no washing lines outside people’s windows and everyone seems more private. A tourist thinks of the Lido as a peaceful beach resort but most Venetians think of it as a ‘dead town’ where nothing new happens and the ways of living are far from modern. Most of the words used by the interviewed people to describe the areas would never be mentioned if one only looked at the analyzed maps instead. The maps of the Jewish Ghetto do not convey a romantic image neither does the map of the Lido convey the image of a ‘dead town’. The final conclusion is that Lynch’s techniques are successful at mapping the information and facilities of that area but it is not sufficient to convey the true ‘Image of the City’. This can be better understood when visiting the city or by looking at pictures, also different people will have individual opinions and every single person will have their own ‘Image of the City’ according to their feelings and experiences.

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transport

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The map to the left identifies Venice and its logoon in a wider context, identifying the road networks and the on-land route to Chioggia ‘site D.’ Mainland urban Pockets such as Mestre and Padua, where the majority of workers commute into Venice daily .Shipping routes into and out of Venice port have been mapped. Common destinations includeCroatia, Southern Italy, Albania, Montenagro and Greece.

transportJonathan Evans

Ryan Holdsworthleila djalavandi

Rebecca turnerlottie smith

Main shipping routesMain road routes

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The photo and diagram above show the Port of Venice. The diagram shows the points of entry for passengers and goods, which are separate and shows the passenger route going straight down the Canale della Fusina. The road and highway networks are directly connected with Venice, making it very accessible.The port of Venice is located at the top of the Adriatic sea; the intersection of the main European shipping routes, and in a place which could form a gateway with Asian trade. Therefor the port of Venice could be key to the cargo industry. This topic will be further explored on the future transport systems of Venice page.

The graph above shows the amount of cargo handled in the port between 2007 and 2011. There is a steady increase in cargo handling , This increase correlates with the rise in tourists - which suggests that more goods are being imported to support the tourist demand.

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The graph above shows Passenger traffic through the port between 2007 and 2011. There is a trend which shows that the number of people arriving through the port is rising steadily, which reflects the rising number of tourists traveling into Venice by sea.

This pie chart shows that the vast majority of passengers arriving into the port of Venice are travelling on cruise ships. The cruise ships have raised controversy in Venice as due to their size - they disrupt the natural wave size, which is detrimental to the islands in Venice.

** Statistics reference: http://www.port.venice.it/en/the-port-in-figures.html

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Venice Airport - Marco Polo1,903,166

2,089,690

2 year Total (2010 - 2011)

2 year total (2010 - 2011)

treviso airport

370, 562212,419

1,773,226862,138

2,145,582

1,074,632

6,839,247

4,936,081

6,436,949

Italian Nationals

Foreign Tourists

8,563,274

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This Diagram shows that more tourists are using Marco Polo Airport . This is due to the fact that Marco Polo is closer to the Island of Venice, therefore more convenient for tourists who spend a small amount of time visiting the city. The majority of package holiday airlines fly into Marco Polo which also reflects in the statistics.Also, as the vast majority of Venetians live on the mainland the distance between the two airports is less significant. In addition, flights from Treviso Airport are a lot cheaper than flights from Marco Polo, which may be why residents are more inclined to use it.

The waste in Venice is not disposed of on the island, as in the images opposite, the boats collect the waste and take it to a large port onto the mainland. Because of this, it is difficult to manage the amount of waste coming out of Venice.

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It is more difficult for emergency water vehicles to travel aroumd Venice in comparison to mainland Italy. This is due to the busy canals and also the limited access to the smaller canals.

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The Rail Network

The above map identifies the primary train routes to Venice from the major cities in Western Europe. It identifies a huge market in travel to Venice as there are direct links from such famous cities.

It also shows the number of different countries that show an interest in the city. It also offers a cheaper form of travel than flying, offering more people the option to visit Venice.

Above is a map identifying the train lines into Venice via the bridge connecting the city to the mainland. The green spaces highlight the parking, for bus and cars. These are used predominantly by commuters from the mainland and day-trip bus tours of tourists.

As there are no roads or cars in the center of Venice this is the cut off point for them. The parking is within walking distance to town which encourages commuters and tourists into Venice. The station is a few hundred meters closer into town so it makes the city very accessible.

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Size of images represent the popularity of the transportation

The different types of water transport used on the Grand Canal vary massively in prices, therefore depending on your reason

to visit the city would determine how you traveled around Venice.

Vaporetto Buses are reasonably priced and multiple day travel cards are also available

to allow cheaper and easier access. This mode of transport is used by the vast

majority of tourists and locals alike.Gondolas are a novelty in Venice and very popular with holiday makers. Prices range

depending on where along the Grand Canal you wish to ride, but approximately

€80 for 30-40 minutes.Water Taxis are a quick but very expensive

way to travel around Venice. Commonly used for transporting heavy suitcases or

luggage to hotels which are not accessible by the public Vaporetto buses.

Cruise ships, are not available for public use, and have caused much controversy in Venice. The cruise ships sail through

the center of Venice along the Canal della Fusina. The impact causes large waves which is detrimental to the stability of

Venice, especially the smaller surrounding islands.

This pie chart shows the different types of transport coming into Venice daily.

Tourist Travel Cards7,00 € ONE WAY TRAVELCARD

18,00 € - 12-HOUR TRAVELCARD20,00 € - 24-HOUR TRAVELCARD25,00 € - 36-HOUR TRAVELCARD30,00 € - 48-HOUR TRAVELCARD35,00 € - 72-HOUR TRAVELCARD

50,00 € - 7 DAYS TRAVELCARD

Vaporetto

Gondola

Water Taxi

Cruise Ship

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Current Taxi Routes

Proposed Taxi Routes

Solutions for cutting down operating time and reducing travel distance is being proposed for the water taxis. The problems they face is that different routes are usually not being used due to the canals being privately owned or that the taxis’s might damage buildings along that canal as the waves cause more erosion. These are two of the main routes that they are proposing to change. The issue with the Arsenale Route is that the canal is privately owned by the owner of the Arsenale. He wants to protect the Arsenale’s foundations. If the traffic flow was regulated however and they even enforced a system that would penalize speeding, the foundations should not be effected. This route in particular would make a huge cut in the use of petrol by the taxis and save a huge amount of time. It is surprising to find that taxi’s spend nearly the same amount of time empty as they do full. This means that the demand for a private taxi is lower than it should be for them to be a sustainable form of transport. The Vaporetto is more economical and used more because it is cheaper. SO taxis should be given these alternative routes so that they are made more economical.Graph to show the proportional amount of time the taxi’s spend on average on each status.

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Primary & Secondary Canal routes

The above piece has identified the major routes through the canal network within Venice. These canals are the arteries and veins of the city and make up a dense network of routes to any space within the urban fabric.

The traditional mode of transport, the Gondola, still remains within the smaller waterways while larger vessels such as the Vaporetto dominate the larger canals, such as the Grand Canal, mainly ferrying tourists around different sights.

Vaporetto Route Map Venice & LidoThe above route map identifies all the different services in and around Venice and the Lagoon. Routes between Marco Polo airport are shown, as well as the Lido and the water service to Chioggia only this service ends on the 30th of September.It clearly identifies the numerous vaporetto stations along the canals.

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The Lido - RoadsThese are a far more important aspect of the transport infrastructure than canals. Cars are used a lot more in the Lido as they are more convenient and easier to maintain.As the Lido is regarded as an exclusive area residents not only have their own cars, but boats as well.

The Lido - WaterwaysThe are far fewer Canals within the Lido, their primary purpose is to accommodate private boats, providing private mooring to residential streets.Canals are therefore for luxury primarily. The Lido is not dependent on the canals like Venice

As the Lido has roads this allows a wider variation of transport including motorbikes, buses. It is clear that bicycles are the most common form of transport.

Santa Maria Elisabetta Parish ChurchThe green spherical roof can be seen from Venice when approaching The Lido.

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Chioggia - RoadsChioggia is situated at the base of the Venice Lagoon the town receives very little tourists and the economy is still centered around fishing and manufacture much like how Venice used to be. There is quite a large road network as seen above and there are 3 bridges connecting ‘old’ Chioggia to the mainland, making it far more accessible. Also the majority of side roads connect to the main central road, and are wider than the paths in Venice, so cycling is a highly used method of transport.

Chioggia - CanalsChioggia is centered around 1 main canal running down the center with smaller diversions off it. Fishing is still the main industry so it is essential to the economy. The port of Chioggia is situated to the north of the town and is growing. The mainland of Chioggia is made up of roads but has 3 large canals cutting through the city, the water is used to circulate the boats in and out of the port. It has two main roads cutting through the old town and connecting bridges joining the old town to Sottomarina. In comparison to Venice it is much more functional, as the road network is less complex, and there are less canals meaning boats, buses, cars, pedestrians, and bikes can all function well collectively within the city.




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Diagram showing major bus routes connecting Chioggia with Mestre, The Lido, & Venice. The route from Venice to Chioggia differs depending on the season. In the summer season there is a lot more tourism in Chioggia, mainly Italian tourists staying in Chioggia and visiting the Lido. The transport system changes to support this demand - there is a direct vaporetto connecting San Marco with Chioggia (1.5 hours) .The rest of the year Chioggia and Venice are accessible via bus from Piazza Del Roma (1.5 hours) , or Vaporetto to The Lido then bus down The Lido followed by another Vaporetto (2 hours). Some people commute from Chioggia to Venice for work, which is very difficult and time consuming. The commuters have to leave Chioggia at 5am - which is very difficult - the two cities should develop a faster link in order to make Chioggia more accessible.

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Left Diagram: Plan highlighting Vaporetto stop & car parks in Chioggia. The diagram shows there are many car parks in Chioggia, in comparison to it’s size. This is because the streets are relatively narrow so there is not much space for parking cars along the street.

Right Diagram: This plan highlights the port of Chioggia. This port is key to the cities survival , the fishing industry is large and accounts for the majority of the economy and also supplies a large amount of jobs for the people who live here.

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San Giacomo in Palude

The above red marker shows where the island is in relation the Venice and the Lido.

The small island has a number of derelict buildings and is only accessible by private/chartered boat which can be done within Venice.

Above is a photograph of the front face of the Island

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This information shows that items such as fish are being imported into Venice despite it being an island surrounding by water. This is due to the water being too polluted and not being suitable for fishing.

If the importation rate reduced it would result in cleaner safer water to allowing the fishing industry to return, instead more things are being imported to the city which creates a gradual economical reduction within Venice, whilst having negative effects on the environment through shipping pollution etc.

Reducing the amount of Imports to Venice, and increasing the exportation rate would make Venice more sustainable and self-sufficient , and help the economy.

Imports

The diagrams here identify the commodities imported into the Province of Venice. These include commodities such as crude petroleum and clothing.

The majority of imports arrive by sea, land and air routes account for a small percentage.

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Exports

The region has a diverse range of exports and again the port of Venice plays a key role in this with its 26 cargo ports, which is large compared to the 8 passenger terminals.

The above figure strikes me as odd considering the vast amount of tourists to the city and surrounding province.

It is interesting to see how distant countries are buying items from Venice, this is allowing the city to create money which increases its possibilities.




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Below lies a map identifying the routes commonly used by commuters travelling into Venice via the bridge connecting the city to the mainland.The main ways commuters travel into Venice are by car, bus, train and bicycle, also using the people mover which connects the Tronchetto parking to the Piazzale Roma.

Cars are parked in one of the multi story car parks on the outskirts of the island. Large spaces are also available for storing bicycles and motorcycles.

Car Routes/Car Parking

Rail Networks/Station

Bus Station - Piazzale Roma




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Piazzale Roma Bus Station

The Piazzale Roma bus station is where residents and visitors travel into the city by public bus, airport bus, taxi, or car.

People Mover

Venice’s new People Mover is a cable tram system that connects the Piazzale Roma with the Marittima cruise terminal and the Tronchetto parking island.

The future of Venice transport is looking to change, solar panels are in plan to take place on the water taxis and buses this will make it more sustainable and self efficient. This will also help with the increasing problem of pollution in the canals. Due to rising fuel costs, this proposition is a realistic solution for Venice.

A large investment plan has been defined to enhance the Port of Venice. The port’s most ambitious projects for the commercial area include the new container, Ro-Ro and offshore terminals, while the tourist port’s attractiveness will be augmented by new cruise ship terminal and a large re-developed area with offices, leisure facilities and a multi-storey car park. Despite creating more opportunities for Venice, this will increase the pollution in the lagoon when this is already a big problem for the island. This will allow a larger range of job opportunites and a wider economical income for Venice.

The high-speed train has been proposed to be introduced in Venice by 2013. It will link Venice, Verona and Padua and also have a link to Venice’s Marco Polo airport. Due to a large increase in passenger traffic and limited private transport, these trains will provide an alternative to the current public transportation in Venice for commuters and tourists alike.

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urban spaces and Rooms

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urban spaces and RoomsPeter Morales valovirta

Jiyan Khalafdanny Patel

What is an Urban Space and Room?How do they appear in the VenetianLandscape? How are they Used?

After doing the trip to Venice it was clearthat Venice is not about the urban spacesand rooms but the people. The region isundergoing tremendous pressure both environmentally and demographically.

More tourists are flocked to the city every year pushing the Venetians out and life has become expensive and hard. It is clear that Venetians stay here because they love it so much, not because it is an ideal way of living.

The theme was evident and clear and itdiscusses how Venetians find new urbanspaces and rooms when tourists takesover. What happens when there are nomore designated space for people to interact?

The Venetian lagoon boasts a great variety in living environments, from pedestrian oriented settings to beach near living.

There are few places on earth that canshow us a physical environment of history far back in time, and the lagoon is a perfect place to study ancient spaces and rooms.

The study of urban rooms and spaceshas proven that they are not defined byconventional standards. A public squaremight be a public space but could thebeginning of a bridge also be a publicspace?

A once private courtyard might bea public room as they have been openedfor the public. These changes and differences of definition is what characterizes the Venetian Lagoon.

Although all of the different regions ofthe lagoon had different characteristicsthere was one major face that connectedthem all, this was that with time theyhave become defined by the people livingthere. Especially Chioggia and Veniceshowed that even though the urbanstructure might be ancient and disconnected from the world, they have been penetrated by the people gather on places there we would never even think of, they live in ways we would feel insecure.

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ublic VS. Private RoomsThe reason private rooms (courtyards, inner gardens) are becomingless popular is because they don’t serve a specific purpose, peoplewant to meet people on open spaces where the possibility of meetingsomeone is bigger. Public rooms allows movements through the spacewhereas private rooms restricts them. This is the reason why publicrooms are becoming much more important.

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A Public Room

A Private Room

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The urban spaces and rooms are a vital and crucial part of the Venetian life. They can be defined by two categories, an unofficial urban room/space or official urban room/space. The difference between these two definitions are that the unofficial space/room is created by the people, it is not a conventionally designed area for people to gather or socialize.

The official stands for the designated areas created for people to interact, these can be gardens, squares or other gathering points. The following drawings are a series of urban spaces and rooms. The left side shows urban rooms and the right side shows urban spaces.

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Campos in Venice

The Venetian Hierarchy

Venice was initially built on six sestiere (districts), each of these was administered by a procurator and his staff. These districts contained parishes, 70 in 1033, but was later reduced to only 38 by Napoleon. Each division elected its own parish priest, a reflection of the independence of Venice from the papal rule. People identified with their parish districts which was centered on a square (campo) with a church, market and well.

Gardens in Venice

Venice is a fleeing city, a city that once belonged to the refugees is now becoming a fleeing scene of reality. Gardens have become much more popular for Venetians in the past decades, this is much because their initial spaces and rooms have been overtaken by tourists. Venice has a scarcity in gardens and this is because when it was first built, each building block would contain a private garden where people could plant their own food.

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The Battle of the Grounds

For Venetians the past decades has been years filled with decay and losses, less room for the locals has resulted in less places for them to enjoy. The city was designed with campos functioning as common places where people could socialize, but with more tourists locals are seeking new places to relax on, away from the touristy areas.Venetian public rooms are different to the conventional counter parts, they are created by the people living in it. Like the bridge to the left, an urban room might not be apparent without the people, but is obvious when people use it, confined by edges and movements.

The conserved environments of Venice shows a beautiful scene of how life used to be centuries ago, it has imprints of life from different times. The time stopped long time ago but the urban spaces and rooms have gained new functions to better suit the modern life.

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The Lido is the only city of the three that has adistinctly lower density. It’s connection to the oceanand beach is what separates from the rest of thecities. The Lido is an escape from the tourist filledlife from Venice, allowing Venetians to relax.

The life in Venice depicts a separated integrationamongst the tourists and locals. The publicsquares are a necessity for the urban life of thelocals, even though irritation towards tourists is acommon part of the life for locals they still interactwith their surroundings. Campos that once usedto be only used by Venetians are now becomingflooded by tourists.

Chioggia is defined by the connection between the canals and the roads. The Roman city layout is the reason for Chioggia’s street structure, with one main street going from north to south. This main street is the only public space of a larger scale. Public rooms are created by restaurants tucked in the side streets, allowing activities outside the central street. Chioggia is interesting because the city is not used how it is supposed too. People should be using the main street and not radiating to side streets. Boats should be a more integral part of the life. One would think that vehicles would have a bigger role in the city, but bikes seemed to be main way of transport.

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Venice demonstrates how a city of an ancient model adapts to its modern outer world. Petrol stations become a common sight, graffiti a normal sight of the urban scene and new forms of expression appears. Much of the city’s spirit is much due to movements, changing movement patterns changes how the urban spaces are used. Vaporetto’s and motor boats have allowed people to move more freely, activating places that once weren’t of preference. This images also shows how locals are pushed to create new urban spaces and rooms, when the original rooms and spaces have been occupied by tourists, locals are forced to create their own spaces.

People create unconventional spaces to enjoy. Gardens are also becoming more important, the private inner gardens don’t provide public urban rooms but rather private, and with the scarcity of public spaces, locals seek new places such as the public gardens.

The Lido has demonstrates how urban spaces and rooms can efficiently be used. The streets of The Lido hosts a variety of small cafe’s where people can relax and interact. The building typology of the Lido is what sets it apart from its neighboring cities. A low density allows bigger buildings and wider environments. It is easy to understand why Lido offers a getaway from the hectic crammed city life of Venice.

These images show yet again that the urban spaces and rooms aren’t defined in the traditional manner, they are created by the people.

“We didn’t need a story, we didn’t need a real world. We just had to keep walking. And we became the stories, we be-came the places”

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superstructures

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superstructuresMelanie Backhouse


dali almaeb

Identifying the Ports/Inlets

1. Port of Lido

2. Port of Alberoni

3. Port of Chioggia

1

2

3

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dali almaeb

Port of LidoMost frequently used port of all three. Vessels enter/exit mainly for import and export and tourism. The Port of Lido is the most common one as it is the only one that has direct access to Venice, and that will make the port even more occupied by tourists visitingvia tour ships

Port of AlberoniConcrete Blocks are applied to the Port of Alberoni as well. It is not as commonly known as the Lido inlet therefore vessels do not cross as frequently.

Port of AlberoniFishing huts are very common along the inlet of Chioggia, where large fishing nets are inserted inro the water. The second photo shows a beach in Chioggia, and a view of the city. It is not known for touristic attraction one of the reasons being that it was once deserted a long time ago.

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dali almaeb

The arrows in red are the waveshitting the surface of the inlet. TheArrow in light blue are the wavesafter they have been broken downby the blocks of concrete. Theblackarrows are the vessels coming inand out of the port.

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dali almaeb

On all three ports located on the‘strip of land’. Concrete blockswere added to break down wavescoming from the open sea(Adriatic). Therefore any vesselsentering or leaving the ports willencounter no disruptions.

The Port of Lido is the most importantand most frequently usedport of all three. As it is the onlyone which has direct access intoVenice.

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townscape

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townscapeJonathan Evans

Ryan Holdsworthleila djalalvandi


A. Suore CanossianePage3207 Cannaregio, Venezia Catholic Church

B. Central square, Venice Ghetto, Sestiere Cannaregio, 289230121 Venice

C. Campiello Maddalena 30121 Venezia

D. Castello 5840 Campo S.Maria, Formosa,30122 Venice

a

B

d

c

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TranscriptsThe Manhattan Transcripts differ from most architectural drawings to such an extent as they are neither real projects nor mere fantasies. Developed in the late ‘70s, they proposed to transcribe an architectural interpretation of reality. To this aim, they employed a particular structure involving photographs that either direct or “witness” events.

At the same time, plans, sections, and diagrams outline spaces and indicate the movements of the different protagonists intruding into the architectural “stage set.” The Transcripts’ explicit purpose was to transcribe things normally removed from conventional architectural representation, namely the complex relationship between spaces and their use, between the set and the script, between “type” and “program,” between objects and events. Their implicit purpose had to do with the 20th century city.While the programs used for The Manhattan Transcripts are of the most extreme nature, they also parallel the most common formula plot: the archetype of murder. Other phantasms were occasionally used to underline the fact that perhaps all architecture, rather than being about functional standards, is about love and death.

By going beyond the conventional definition of use and program, The Transcripts used their tentative format to explore unlikely confrontationsFrom my research into the Manhattan Transcripts. The notion of space movements and events being separate matters became instantly evident.

Tschumi’s aim was to transcribe things normally re-moved from conventional architectural representation, and as a result, creating a new dialog for space and movement. Where by and ‘event’ (imposed by Tschumi, often murder) plays the key role in dictation how the architectural space is perceived.Based on this research we propose to produce our own set of transcripts representing space and events for Venice. Initially we will identify spaces within each of the areas which relate to the theme of ‘Common Ground,’ then, using photograph, plan and diagram we will attempt to translate the activity in each space pre-visit.

Once in Venice we will film each space but also create/implement an ‘event’ providing the opportunity to record and compare the differences from conclusions drawn in the earlier diagrams.




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Sunbathing on the beach on the Lido

Imported vegetables being unloaded in the Jewish Quarter

Tschumi’s layout of the transcripts helps to combine actions, views and movements of a space. This makes comparing the information is easier.

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“The basic approach of our urban design concept in the ‘block’ formation. This enables the creation of many different spatial configurations of squares and street sequences that give the individual ‘places’ their indelible character and offer inhabitants the kind of familiar quality found in a typical Berlin neighborhood, or Kiez

Krier’s Urban Space is created in similar ways to an Interior space. A square or street are the basic elements of the urban space. The only difference is the dimensions of walls which bound them and by the patterns of function and circulation which characterise them. In brief descriptions, square is produced by the grouping of houses around an open space and the street is a product of the spread of a settlement once houses have been built along the available space. The spatial forms of urban space derive from the three basic geometric shapes: (square, circle and triangle). These three shapes are affected by modulating factors which are angling, segmentation, addition, merging, overlapping and distortion.

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Krier stated that the expansion of cities led planners to make over rapid decisions on town planning which has resulted with unstructured developments. Architecture was a low priority. Functional, constructional and capital concerns were being the most important issues of the day.

From the research into Krier’s studies we have decided to similarly analyses several of the common ground points situated around Venice, The Lido and Chioggia. Where we will critically discuss whether these points of interest still process Urban Space, or if they have eroded through time due to a modernist approach.

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Venice

Above shows one of the main Jewish Squares in Venice.

We carried out the exercise of creating a positive and negative space map which allowed us to gather a good understanding of how the urban spaces work. Venice tends to have kept to its historical layout and has a range of points of congregation, usually around religious structures.

The example used here seems to be an adaptation of a square, with the surrounding streets formed by the staggered placement of buildings.

The Lido

There are far less public spaces created here from buildings.

The majority are privately owned and detached, meaning closed off pockets of public space do not feature greatly in this townscape.

Above shows on of the key spaces, a canal used for private moorings.

Chioggia

Chioggia as shown above seems to have adopted a more structured approach to its layout. With many of the buildings having been designed to follow a straight line path. These blocks of residential buildings creates very long narrow allays and walkways which appear cold and protective.They will also be relatively dark spaces only lit by indirect sunlight.

Chioggia does however contain long stretches of water which are considerably wider along with its main street.

San Giacomo in Paludo

This secluded island is itself an enclosure created by buildings and walls as seen in the plan above .

The photograph shows the outside wall and entrance. An internal view of the space will be included post visit.

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The Situationists were a group of artists and intellectuals who generally focussed their theories around the critique of capitalist culture. They perceived that alienation in society was a result of the domination of the individual by the mass media and consumerism. They believed the moments of an individual’s everyday life defined a situation, and therefore urban life was created from a series of situations.

The founder Guy Debord defined a situation as:“a moment of life concretely and deliberately constructed by the collective organization of a unitary ambiance and a game of events.” Debord believed modern society had been emptied of all life, that people were an audience of contrived spectacles – consumers of commodities, in complete alienation of modern life. They believed cities were ‘born from interfaces of situations’ and created methods aimed towards making people analyse their everyday life, and realise their true desires by consciously analysing their surroundings within the city of creating a psycho-geographic map of Venice but ended up in a ‘static position’ unable to complete the map disorientated within the complex network of Venice.

The derive or to drift consisted of taking emotive possession over the streets venturing into unknown lands. Debord believed that people within the city had become passive and detached, monotonously moving from place to place. He believed this was because people were controlled by the mass media and capitalism that people weren’t living but simply existing in the city, driven by image and advertisement. He called this the spectacle which was so vast that people had started to live through passively watching and consuming instead of engaging. Everything was a representation not an event or situation.

The Situationists tried to change society by creating situations in which people could turn their own lives into a creative experience. The aim of the ‘derive’ was for people to become aware of actual living situations and spatial ambiences in the urban space, to become a narrative or subjective to spatial experience. To become aware of temporal and spatial orientation and repossess physical and emotional engagement within the city, in order to regain social interaction and common ground instead of alienation. The idea of the derive was to walk through the city but be consciously aware – to be attracted or repulsed by living experience such as smell, sound, space, light, ambience, streets, human interaction.

Debord – “One day we will construct cities made for drifting”

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Psychogeography is the study of the specific effects of the geographical environment not based on physical layout but on the emotions and behaviour of individuals and situations or events experienced within a space. The maps didn’t consist of actual geographical location but of a series of movements between fragmented and separate spaces and significant, subjective places.

The point of map is to draw up a hypothesis for new social space. In relation to the common ground in Venice which has reduced due to the overtaking of tourism. Ralph Rumney (one of the Situationists) was assigned the task of creating a psycho-geographic map of Venice but ended up in a ‘static position’ unable to complete the map disorientated within the complex network of Venice.

How is this relevant to society today in Venice?

As Italy’s financial situation worsens the mayor of Venice claims funding is required to restore the buildings, to raise these funds he has started selling advertising spaces on public buildings such as Doges Palace, and St Marks square.

These gigantic displays are taking over the city’s historical sites and beauty and transforming the city into a spectacle. As the adverts appear the residential areas are slowly being turned into resorts and hotels, gradually pushing out the venetians and turning the identity of Venice into a spectacle for the tourist.The number of residents dropping means the common ground within Venice is reduced as the sense of community dissolves. The locals are removed from their city as the areas untouched by tourism disappear and mass media takes over.

The occasional back street with washing lines hanging from window to window, are now a rare reminder of the traditional lifestyles.“There are no more people, there is no more culture, and there is no Venetian way of life, as the city is every day more like a museum.”

Matteo Secchi (Venetian Resident)

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The image shows a Psycho-Geographic Map of Venice. It is a study of the precise laws and specific effects of the geographical environment upon people, reflecting primarily on the emotions and behaviour of individuals and also on specific events experienced within different areas of Venice. I also focused on the general pace of the different parts of the city, the centre obviously being more hectic and completely tourist driven had a completely different feel to the more secluded residential areas of Castello and the Jewish Quarter. In and around St Mark’s Square the overload of tourists, and subsequently tourist attractions, made it very difficult to move from place to place, the pace was hectic slow and frustrating. The events happening in these places were quite mindless, tourist capturing photos at every point, not an Italian in sight, it felt disconnected, not a city but a machine feeding off touristm and advertisements. The map was intended to show a clear separation between the tourist driven and residential areas of Venice, juxtaposing the ‘real’ Venice with the places and people that have merely conformed into this ‘society of spectacle’.Guy Debord “The spectacle is not a collection of images, rather, it is a social relationship between people that are mediated by images.”

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After visiting the Venice, I now understand why Gordon Cullen described it as one of the great cities of Western Europe. Such a change from the busy polluted urban environment I am used to, Venice is a tranquil beautiful city with calming waters and stunning architecture. Above lies sketches by Cullen of his interpretation of Venice.

‘Serial Vision’ is a technique created by Cullen which allows one to portray their experience of a journey through a series of sketches. First a map/plan of the area is created, then by walking through from one end of the plan to the other, multiple view points are chosen and a quick sketch recorded. Cullen’s commented on his example above ‘’My drawings bear no relation to the place itself; I chose it because it seemed an evocative plan’’

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Above is an example using Cullen’s technique ‘Serial Vision’ to map routes around Venice; this encouraged me to sketch important details quickly to get an accurate impression of the area. It gives an idea of not just one viewpoint, but a series of views which create the route. This particular route included a variety of features which I found interesting, the way each turning introduced a new surrounding I reflected in my sketches. I have learned which details need to be included in an image for it to be recognisable, also how views can be percepted differently by various individuals.

In the book ‘The Concise Townscape’, Cullen explains how the relationship between and around multiple buildings should be thought of as important as the structures themselves, carefully placed buildings can create drama and special stimulation. When this idea is multiplied to the size of a town you have the art of environment, the relationships between the buildings and the possibilities are increased.

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I chose this route through Venice as I was drawn to the variety of surroundings and the way each view changed as I walked through the route.

Gordon Cullen’s technique allowed me to concentrate what I perceived as the important factors in each view point..

As I walked through the city I chose which route I wanted to show using Gordon Cullen’s Serial Vision.

I enjoyed looking for the highlighted features in each viewpoint and how when the sketches are placed in a chronological order it allows me to remember my feelings when walking through the route.

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Due to having impaired vision, Cullen drew at a very small scale and enlarged the images afterwards. My interpretation of this concept of images around Venice.

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Gordon Cullen was famous for his great illustrations, above is an example of his work.

Above lies another example of Cullen’s famous sketches.

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Here are a series of sketches of historical buildings in Venice using a variety of media in relation to the work by Cullen, inspired by his impressionist style. I concentrated on the buildings features which I found personally important and how they reacted with the surrounding buildings. I particularly enjoyed the detail of the older structures in the city especially the windows and doors of the residential buildings. - Street in Venice (Pencil) - San Marco (Charcoal) - Rialto Bridge (Pen) - Museo Di Storia Naturale (Pencil)

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1 - Piazetta Vigo: This square intrigued me as it is the heart of Chioggia, lying at the end of the main street, laced with traditional cafes, the only Vaporetto station and the bridge links the two sections of the city. This square was the meeting point for families, friends - everyone was welcome: in the morning it was silently laced with commuters and in the evening turned into a children’s playground and place fpor old friends to gather and chat.

2 - Main Street: I followed the mass of people talking and walking together, this street was the life and soul, it was very different to anything I had seen in Venice - I followed the happy community who were living out their everyday lives.

3 - Canal: I looked down a side street, at the end was one of the main canals , and accross from the canal was a separate island lined with huts and factories. It was silent, lifeless and looked both ominous and mysterious.

4 - Side Street: I was interupted by the clock tower, i could hear the bells chiming 6 o’ clock but i could not see the tower I followed the sound down a side street which led me back to the main street and heart of the town.

5 - Bell Tower: The sound led me to the pure heart of the city - the bells were chiming, they did this every hour, and anywhere in the city you could hear the comforting beat of time. This route led me to discover the unknown in a new city, i was led by my sences exploring the everyday life within this foreign town.

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Detailed sketch of the Palazzo Dario, which is situated on the grand canal built in the late 15th Century Giovanni Dario Central Square in the Jewish Quarter of Venice Sketching in Cullen’s detailed style means the building’s features become essential to making the drawings complete.

Appreciation for these features is therefore increased as far more concentration is needed to understand them and draw them correctly.

View from the back of St Mark’s SquareImage of a lamp post by the water front from St Mark’s Square

View out towards San Giorgio Maggiore from the gondolas next to the vaporetto stop to the LidoView approaching the Lido

From drawing a journey to the Lido it is interesting to see the extensivedetail that is picked up from copying the landscape and experiencing all the features of the buildings, as apposed to just photographing it.

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Water

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Water is Essential to the Life of Every City. What Does Water mean to Venice and how does it Effect Everyday Life?

Venice currently and in the future willface many challenges relating to itslocation such as the rising sea levels thatthreaten the city and the subsidence ofthe swampy marsh land it sits on.

The salt water that is flushed in by thetide on a daily basis slowly destroys themateriality of Venice’s buildings throughsalt water evaporation. As a resultVenice’s buildings always face the taskof undergoing renovation.

Over time sediment has been removedby the inlets that supply sea water intothe lagoon, washing away habitats,weakening the soil bed, thus increasingthe risk of subsidence.

Historically water was collected bythe wells and cisterns, but in the 20thcentury, ground water extractionwas needed to supply the demand ofindustrial tasks. This has been banned inVenice now and is expected to be bannedfor the whole lagoon soon.

The lagoon on which Venice is locatedis still considered one of the best naturalhabitats for wildlife but has changedsignificantly over time due to industrialand human interference.

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Foundations

Due to the nature of the marshy land that Venice settlements were built, the Venetians drove wooden piles down into the marshy ground to provide a solid base. On top of these piles were two sheets of board then a layer of stone.The drain highlighted is the historic sewage disposal infrastructure called Gartolo that are still in use today along with septic tanks. Waste water is transported down to the canal and flushed out.

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Above is a map showing the locations of the sites on the lagoon in the region of Veneto. Also shown is the two distinct bodies of water, the Adriatic sea and the lagoon itself. Highlighted on the map is the channels that have formed in the marshy ground over time to which the tides follow.

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This map shows how the lagoon functions, there are three inlets into the lagoon that allow the flow of tidal sea water . This happens twice a day, flushing the lagoon with sea water. It is one of the richest natural environments for birds, fish, and plant life in the Italian region.

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The traditional system Venice adopted is very out of date, even though it works the water quality in the canals is very dangerous. Most buildings now have septic tanks to treat effluent and hotels are required to have one. They take away the solids from the waste and let the waste water out into the canal.

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Pre 1884

Water supply was self sufficient where rainwater collection was utilised, rainwater would run off the roofs into a drainage well where cisterns would filter the water until it was drinkable. There are over 6000 cisterns underneath Venice that were used to store the filtered water and originate from the 9th Century. They also had boats bring across water from Brenta.

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In 1884 an aquaduct was constructed that brought from the commune of Trebaseleghe, where it is collected from 120 artesian wells. It is carried under the lagoon to Sant’ Andrea, where the reservoirs are placed. Venice is now dependant on its water supply and their historic system has abandoned.

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Diagram showing how the cistern works. Rainwater would be collected in drains either side of the well head, it would then filter through the sand to the bottom collection cistern where it could be brought up in copper buckets to be drunk safely.

There was the problem of the cistern being polluted from outside salt water so it was lined with clay as a waterproof layer.

Image of a well in Venice courtesy of; http://www.venicebackstage.org/en/wp-content/uploads/2009/12/Mpozzo1.jpg

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This diagram is showing the elaborate cistern network underneath Venice , there are over 6000 of the cisterns that in pre 19th century, were filtering rainwater for the people of Venice on a daily basis.

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Salt Water Erosion

The salt water that washes up against the brickwork of the buildings in Venice is a constant threat to the stability of the embankments. It degrades the brickwork and when dries salt crystals form in the pores of the bricks causing them to crumble, weakening the wall.

Structural Failure

When more and more of the bricks fail and crumble by the salt water erosion and evaporation the protective barrier of the wall is broken and the water starts to get under the floor of the building washing away the foundations and eventually leading to structural failure. The walls of the embankments need constant restoration in order to protect the buildings above.

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Solution

One of the most common solutions is to inject a resin into the mortar and weakened joints to form a protective barrier that the water cannot penetrate. This keeps the structural integrity of the walls. The maintenance and restoration is a constant task, so far 71% of the canals have been drained and 56% of the embankments restored.

Capillary rise

Capillary rise is one of Venice’s biggest problems from water; due to the fact the bricks are constantly in the water they absorb moisture. This moisture rises up the building and soaks the walls causing damp and damage.

They did however come up with a solution calledIstrian stone, a very non porous stone that acted as a barrier but since rising tides and high tides are more frequent it has rendered this design obsolete.

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Solution

The solution is to install a break, such as a DPM or a resin like the previous page suggests.

Result

This acts as a barrier against the rising moisture and holds it back, thus protecting the above materiality of the building.

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Areas of Flora and Fauna around the lagoon and the main species.

Vascular Hydrophotes are plants found in lagoon environments.

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Marine wildlife and different species;- Herons- Herringulls- Pigeons- Cormorants

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Map showing areas of worst polluted waters and poorest lagoon environment due to heavy water traffic.

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A map showing the main rivers supplying fresh water to the lagoon.A - Sile RiverB – Brenta RiverC – Bacchiglione River

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The Centro Previsiono e Segnalazioni MareeThe primary Venetian tidal forecasting and signalling centre set up in 1999 is responsible for alerting the city and authorities at times of potential flood risk. By observing the sea level and meteorological parameters the organization can accurately detect tidal changes and potential flooding. With respect to sustaining the lagoon’s environment the installed systems also collect information on humidity, air pressure, wave data and local air temperature in order to aid ever-changing studies and predictions on the lagoon’s future.With over 10 strategically placed Tidal Gauges within the lagoon the results of the project have proven exceptionally accurate. The institution has also installed an audio-alarm system in Venice, at times of high water, for example the Aqua-alta, the system provides residents and tourists clear instructions in Italian, English and French.

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Map showing location of the Tidal Gauges around the lagoon.

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Main (Dynamic) Waterways

Consisting of 17 main arterial canals that serve as a thoroughfare for boat traffic with 3 main canals servicing the most traffic

Main (Static) Waterways

Consisting of 3 main harbours /ports.

Wells/Cisterns

Consisting of 23 wells with cisterns, though today many of the wells are not in use as they were in the 19th century, with many being removed as a collectors item.They are however a very useful source of clean drinking water, collecting, storing, filtering and distributing storm water.

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There are 9 main arterial canals in the Castello.


Consisting of 2 main harbours /ports, the Arsenaleand Sant’Elena port.

Wells/Cisterns

Again there are little wells and cisterns in this areadue to its industrial nature.

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The waterways play a much less integral role on the Lido than they do in neighbouring Venice. Goods are transported more by road.


The Lido is surrounded by water on two sides and on one has a beach.

Wells/Cisterns

The connection to the mainland means that there are also less wells and cisterns than on Venice itself.v

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There is only really one main route boats take to the island which is above, they follow this path to other destinations and pass the island on the way and is the sole route to the island


The deserted island is surrounded on all four sides with water and is very isolated compared to the other sites.

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Flooding + 1metre

1m: noticeable rise in water level, embankments breached, canals swell, little disruption to harbours in north. Approximately 10% of area effected.

Flooding + 2metre

2m: significant disruption to streets, flooding occurson ground floor of most buildings within immediatevicinity of water. Limited public access.

Flooding + 3metre

3m: substantial flooding. Approximately 30-40% of area effected. Very limited public access.Infrastructure failing.

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Flooding + 1metre

1m: minor disruption to dock yards, housing, retail,not much effect on food services, canals swell up toembankments.

Flooding + 2metre

2m: difficult to get around; water too high for gondolas’, minor disruption on food services.

Flooding + 3metre

3m: whole areas flooded, disruption to food services,30-40% flooding.

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Flooding + 1metre

1m: beach front on east coast of island consumed.Swelling of canals and embankments. Less than10% of island effected

Flooding + 2metre

2m: beach totally consumed. Central arterial canalfully swollen. Access to services and amenitiesrestricted.

Flooding + 3metre

3m: almost total water coverage on island. Limitedpublic access, flooding to ground floor of buildings

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Flooding + 1metre

Due to the man made embankment surrounding theisland, a sea level rise of 1m has little effect on theland

Flooding + 2metre

A 2m rise in sea levels results in more significantbreaches. Most of the island is still above the water.

Flooding + 3metre

At 3m the land is high enough to protect the centralpart of the island

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The Venetian Republic considered Venice and its Lagoon as a single entity and food/protection-providing source for the region. In recent years the delicate environment has been heavily altered by many anthropogenic interventions. There have been many attempts made to “Save Venice” by local, regional and international sustainability organizations.Sea-level rise, subsidence, erosion, pollution, fishery activity, and wave motion have all contributed to the general crisis of the Venice lagoon system. The ecosystem characteristics have undergone progressive impoverishment and deterioration, with a reduction of the surface area of the salt marshes, deepening of the lagoon beds, and worsening of the water and sediment quality. Furthermore, the city of Venice has subsided by 23cm in the past century. This is due to the groundwater pumping for industrial use and sea level/climatic rises.

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The diagram below shows how the Venetian lagoon could harvest energy from the incoming daily tides. Positioned along the inlets where the highest volume of water would be flowing they could help generate electricity through hydroelectric power plants to serve the area.

Opposite diagram showing how the hydroelectric power stations along the inlets might work. The daily tides turning the turbines would generate enough electricity to power the surrounding areas.

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The diagram below shows how the Venetian lagoon could utilise its rich source of wildlife through aquaponics, using fish to cultivate plants in water and produce food products.

(Opposite)Diagram showing how the process works, with the fish helping to provide nutrients for the plants and in turn the plants can clean the water for the fish.

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The diagram below shows areas that can/are taking advantage of using the surrounding water for cooling systems within buildings and processes.

(Opposite)Diagram showing how the process works, drawing in water from the canals or sea and using it to cool and extract hot air from the building infrastructure.

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WaterJoe Myerscough

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The diagram below shows a solution to re-opening the cistern network and creating a space where people can collate and drink water instead of bottled water.

(Opposite)Venice consumes more than 13 million bottles of water each year. This however, is the norm for most Italians as they consume 40 gallons per person, per year.Water could be harvested and reused as drinking or cooking water by opening up the existing historic water cisterns for a new purpose, and in turn reducing the amount of waste plastic Venice produces.

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The diagram below shows how floating reed beds can be used on the canals to deal with the waste currently being pumped into the canals. The system is currently adaptable as the beds could be linked from the gartolo.

(Opposite)Shows how the system of reed beds works, they would be floating rafts that would take waste from the buildings connected straight onto the gartolo filtering the waste before it went into the canals.

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Politics

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Politics Past and Present

dean Bartlettchantelle stewart

The Republic of Venice survived for over 1000 years, its prosperity and longevity resulted from a strong quasi-democratic government headed by an elected Doge.

Today the political scene is very different. In Venice the conventional right-left spectrum largely subsumed by an apparent consensus on the desire for independence for either Venice alone, the Veneto region or the whole North of Italy. As such the regionalist Lega Nord / Liga Veneta are the largest political party.

The popularity of regionalist politics in Venice demonstrates the problematic relationship between nation and state in contemporary, integrated Europe.

The following section offers a comparison between the political power at two points in history: 1100 and 2012.

What emerges is an idea of politics that locates state power in geographical space, upon which is built a dynamic economic and socio-cultural construct of ‘nationhood’.

Thus in Venice - in common with other for geographical areas with a strong sense of nationhood - the idea of a nation-state (Italy) ruled from a distant capital (Rome) and part of a supra-national institution (EU) is problematic. This formulation perpetuates a politics of centralism, thereby eliding specific regional qualities within national issues, and distancing the individual from the state. Further, the adversarial nature of national politics creates a stasis within which major political decisions, such as flood defences for the Venice city, are delayed because of short-term electoral imperatives.

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Venice 1100

The city of Venice City is an archipelago of small islands. Living in such close proximity, the people of Venice have a strong communal ethic but are also prone to suspicion.

On that basis, the Doge’s government implemented a system of for people to convey there suspicions of their neighbours. Bocche dei leoni were decorative concrete slabs designed as the face of a lion. The slabs were mounted on selected building so Venetians could post secretive scrolls about fellow citizens into the lions’ mouths.

Accusations were taken very seriously: the accused may be seized and taken to the Doge’s palace for questioning.



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Province of Venice 2012

Venice’s City Council is composed of 45 members from 6 boroughs/districts within the comune:Chirignago Zelarino, Favaro Veneto, Lido Pelltrina, Marghera, Mestre Carpenedo and Venezia Murano Burano.

Five of these boroughs are governed by a centre-left coalition and one by centre-right coalition.

The current mayor of Venice is Georgio Orsoni (Democratic Party)

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Venetian Republic 1100

The Republic’s Head of State was known as the Doge. In the office’s early years, the Doge ruled autocratically, but the powers of the Doge was limited by the promissione, a pledge taken on election, that begot measures that gradually diminished the Doge’s authority. These powers were taken on by the Major Council (parliament) Minor Council (advisors) and the Quarantia (tribunal) that made up the Signoria (central government). Later a Collegio became the executive arm of the government (cabinet) with the Pregadi (Senate) and Council of Ten overseeing all government business.

Thus the Republic became a mixed political system of monarchy (doge), aristocracy (senate) and democracy (council).

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Veneto 2012

The region of Veneto is divided up into seven provinces: Belluno, Padova, Rovigo, Treviso, Venice, Verona and Vicenza.

The current elected regional President of Veneto is Luca Zaia (Liga Veneta - Lega Nord). His term lasts for five years to 2015.

The Regional Council is made up of 60 members - 47 elected at provincial constituencies with a further 12 drawn from a regional list. The final seat is reserved for the runner-up in the election for regional President.

The region’s largest political party is the regionalist Liga Veneta, a founding member of the Liga Nord, Italy’s third largest party.

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Venetian Empire 1100

The government of the Venetian Republic used diplomacy to negotiate on disagreements to avoid any loss of trade. The Republic had a strong political relationship with the Ottoman and the Byzantine empires with the aim of maintaining profitable trade links. The same level of diplomacy was shown when dealing with bordering territories. This diplomacy was couple with Venice’s fleet of over 100 war ships - a contemporary military deterrent.

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Arengo - Legislature consisting of all citizens.Maggior Consiglio - Consisted of 2,000 members drawn from noble Venetian families.Pregadi - 120 member senate in charge of day to day legislation. Council Of Ten -A ten menber council in charge of all governmant actions. Minor Conaiglio - 6 members responsible for supervising the actions of the Doge.Collegio - The executive arm of the government.Doge - A figure-head of the Venetian Republic. A doge was elected for life.

Council of Ten

Maggior Consiglio

Pregadi

Minor Consiglio

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Minor Consiglio Collegio Doge

Arengo

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Italy 2012

The Italian Parliament has two houses. The Chamber of Deputies draws representatives from Italy’s twenty-six constituencies. Veneto has two seats. The senate is made up representatives from twenty regions with a further six voted for by Italians living overseas. Veneto has one senator.



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Europe 1100

The early thirteenth century saw Venice establish a mercantile empire. The Venetians conquered Constantinople, Crete and parts of modern-day Greece, all of which became Venetian trading outposts.

Throughout this period Venice warred with the city-state Genoa, a powerful Italian trading rival. The struggle turned at the Battle of Chioggia in 1380, where defeat restricted Genoan trade. Others attacked Venice too, but the empire was successfully defended.

These political-economic relationships were pivotal to Venice becoming Europe’s greatest trading power.

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Europe 2012

The European Parliament meets in Strasbourg, Brussels and Luxembourg. The choice of Strasbourg as the official seat is symbolic of the reconciliation between France and Germany that defines the EU project. Brussels is home to all the other major EU institutions - the defacto “capital” of modern Europe. Luxembourg is the seat of the administrative EU Secretary.

The Council of Europe is the European parliament. It meets in Brussels and Luxembourg. Italian representatives are appointed through Rome.

The European Commission proposes legislation to the Council and Parliament. If refused it goes back to a re-draft. Italian representatives are appointed through Rome.

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Cruise ships bring many tourists to the city. However, these vessels also deliver harmful amounts of sulphur into the lagoon and create artificially high tides and wave patterns that threaten both the use of smaller working boats by Venetians and the structural integrity of the built fabric of the city.

“They carry only a few jobs and very dangerous for the city because they move the water and issue a lot of acid pollution”.

Ongoing protests show an activism amongst the people of Venice and an emotional and political connection to issues relating to the quality of the city’s built environment.

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Demographic changes and projections Population of Venice 1951-2046

“Mock Funeral for Venice Dramatises Flight of Residents from City’s Heart”

“If this continues, Venice will become a DisneyLand. We want to start again from zero and repopulate the city. Venice must be a city that is visited, but also lived in.”

The depopulation of Venice threatens to turn it from a living city into an image of a city that once was - Baudrillard’s postmodern simulacrum.

No. of Residents

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Lega Nord

The Lega Nord per l’Indipendenza della Padania is a federalist and regionalist political party in Italy. It was founded in 1991 as a federation of several regional parties of Northern and Central Italy. The parties aim is to achieve independence from the South of Italy. Central Italy, most of which had arisen and expanded their share of the electorate over the 1980s.

Venetian National Party

The Venetian National Party was a Venetist, libertarian and separatist political party active in all regions of Veneto. In September 2010 the party suspended its activities and its members joined Veneto State. In May 2012 most of its former leaders seceded from it and formed Venetian Independence.

Veneto Stato

Veneto State was formed with the Party of the Venetians. Lodovico Pizzati was elected at the head of the party at first. In less than a year, however, the group became more and more uncomfortable with his direction for the party. At a congress in October 2011, Pizzati was replaced by Antonio Guadagnini by a slim majority.

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Lega Nord Annual Meeting

The annual Lega Nord Meeting took place on the 7th of October 2012, coinciding with our site visit.

From a stage on a floating pontoon along the Seven Martyrs shore near the Giardini, League Secretary Roberto Maroni, called for a“democratic and faithful [Europe] based on peoples and regions”.Luca Zaia, the Governor of Veneto, and Flavio Tosi, leader of Liga Veneta also spoke.

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Attendees travelled from as far as Milan, Bologna, Trieste and Lombardy. Leaders from each Region called for wide ranging electoral reform and a referendum on a revised relationship for the northern regions within the EU based on new international treaties and tax laws.

These images form a series of stills from our video taken from at the Lega Nord DemonstrationVenice, 7th October 2012

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the venetian day

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the venetian dayJamie aldus

Besart Redenica

The Student1) Rio Accommodation2) Venice International University3) Doge Restaurant4) Piazza San Marco5) Piazza San Marco Student Night Life

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Besart Redenica

After visiting Venice we realised that someof the places we originally thought a studentmay live, study and play was not correct andwe corrected this based on our findings.

The Student1) Student Accommodation - Apartment Ai Pugni2) Venice International University3) Cafe Rosso4) Student Accommodation - Apartment Ai Pugni5) Campo Santa Margherita - Student Night Life

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6) Campo Santa Margherita - Student Night Life7) Student Accommodation - Apartment Ai Pugni

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The Venetian Dock Worker1) Apartment on Calle Dei Botteri2) Working at the Docks3) People Mover4) Shopping at San Polo Square5) Rialto Market

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When we visited Venice we discovered that thereis not actually many job opurtunites in Venice itself.Unless you worked on a market stall, or in ahotel or on the Vaporettos or Gondolas there wasnot much else you could do. Therefore our venetianworker was making ores for the Gondolas for a living,even this itself is a limited job oppurtunity.

The Venetian Dock Worker1) Apartment on Calle Turloni2) Vaporetto3) Construction work at the Arsenale4) Cafe on Calle Magno5) Rialto Markets

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6) Rialto Fish Market7) Apartment on Calle Turloni

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The Tourist1) Venezia Santa Lucia2) Rialto Bridge3) Santa Maria Glorosa dei Frari4) Palazzo Grassi5) Accademia

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6) Piazza San Marco7) Apartment at Hotel Tiepolov

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The Tourist1) Piazzle Roma2) Rialto Bridge3) Santa Maria Glorosa dei Frari4) Accademia5) Piazza San Marco

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6) Arsenale7) Cafe on Calle Magno8 ) Savoia & JolandaThe tourist does not change much, just that he ismore likely to come by bus rather than train.

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A map of Venice showing the routes that threeindividuals have taken during their normal day.The StudentThe Venetian Dock WorkerThe Tourist

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The Diagram above shows three routes of three differentpersonas and indicates the key areas where theseindividuals may cross paths.1) Both the Venetian dock worker and the tourist crosspaths at the Rialto Bridge; the worker using the bridge togo to the market while the tourist is sight seeing.2) They also use the same route to get to the RialtoMarkets because the worker is shopping for fresh productswhile the tourist is exploring the area.3) All three individuals use the vaporetto bus stop at sometime during the day. The worker takes the vaporetto to theRialto Markets, while the student goes past this stop onthe way to and back from University. The tourist uses thevaporetto to get to Piazza San Marco.4) The tourist crosses routes with the worker on the wayto the Arsenale.

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We found that many crossing points in the city are places where many routes converge, for instace bridges across larger bodies of water, piazzas and the Vaporettos/Stops. As venice is far to large to walk around byfoot, even for the locals, it is more convenient to use the Vaporettos, which are often linked with these so said bridges and piazzas.

The StudentThe Venetian Dock WorkerThe Tourist

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food and fuel

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food and fuelJoe Myerscough

Ryan lawler

The Challenge of Moving Resources On and Off the Islands

Venice historically has always distributed goods via the waterways by boat. It still relies heavily on transportation of goods along the canal networks.

Most of the goods come into the city either by rail or boat and then are distributed along the canals or by foot to their destination.

Venice also has to get the good’s waste out such as food wastes and general waste that is produced from consumption of goods within Venice.This again is done in the same way as itis brought in.

The system in which fuel and waste is imported and exported has barely changed in the past few centuries. Modern technology has enhanced the efficiency of the services however the principles and collecting methods remain virtually the same.

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Goods come into Venice by boat and are delivered into the ground floor of buildings to be distributed. It is a day to day occurrence, the waterways being the main arteries for the flow of goods to and from.


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Venice is full of markets both daily, weekly and provides the locals with fresh produce on their doorstep. So the need for supermarkets is not there like it is in other cities.

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Crabs

Clams

Mussels

Mullet

Fish Farms

Above is a map showing the fishing areas in the region of veneto, historically very important food source for Venice with many Venetians on diets of seafood. The concentrated areas being Chioggia and the northern basin. Also highlighted are the two main fish farm areas in the north and central basins.

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This map shows the farmland around the venetian lagoon, subsequently where most of Venice’s products come from.

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Daily markets

Weekly markets

Organic/trade markets

Fish markets

Farmers markets

Above is a map showing the various food markets in the region.

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The food in Venice costs 18% more than it does on the surrounding mainland due to the high transportation costs.

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Wheat

Olive Groves

Vegetables

Vineyards

Fruit

The food in the Veneto region.

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Above is a map showing where Venice gets its power from and from what sources the energy is produced. Several Co-operations have their Italian base in the Porto Marghera and Mestre. Enel SpA have set up the world’s first Hydrogen powered station in Fusina, south of Mestre indicated in the diagram. It is responsible for the generation of 16MW of power and has the ability to provide electricity for approximately 10000 homes. ESSO and Exxon Mobile both operate Petrochemical facilities in the Porto Marghera. 50 storage tanks are present both on the mainland and on some of the designated man made islands. The Edison and Marghera Levante Coal powered power plants are two of Venice’s oldest power supplies. All power (gas and electricity) gets to Venice via internal pipelines and overhead wires on the Viaduct, Ponte dela Liberata.

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Is a section showing how the power is distributed around the city, it travels underneath the pavements and over bridges just like the pedestrians.

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Supermarkets/ Restaurants

Consisting of 5 comercial food stores/su-permarkets serving the quarter and around 20 independant food sources such as restau-rants, snack bars, cafes etc...

Fuel Stations

The 3 ports/harbours provide fuel for the boats.

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Supermarkets/ Restaurants

Fuel Stations

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Supermarkets/Restaurants

The main shopping district of the Lido is on GranViale Santa Maria Elisabetta which is highlighted by the area containing the most restaurants and supermarkets. With other supermarkets and restaurants being dotted around the beach and south of the main street.

Fuel Stations

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Supermarkets/Restaurants

The majority of the restaurants and cafes are in the centre along the main arterial canals, also there are quite a few along the edges. Mainly due to the sea views generating a good place to sit and eat.

Fuel Stations

Tutors: Dennis Burr and Sarah MillsBA (Hons) Architecture

Leeds School of Architecture, Landscape and Design Leeds Metropolitan University 2012

All texts © 2012 The AuthorsEdited by Lauren Di Pietro

venice research book

Documents

venice biennale

fuella biennale

introduction67la biennale

past biennale exhibitions

year venice group

international art exhibition

englishthe film

following book