Visions of an Imagined Venice Suspended Between Memories and New Possibilities

This paper investigates the composition of heterogeneous fragments, excerpts from the inventory of collective memory, and the resulting unpredictable architecture in an urban context. The project focuses on the city of Venice, its medieval urban tissue, its Renaissance and Baroque works. The freedom to assemble figures or fragments, to place them in another context, highlighted the effectiveness and decisiveness of a reading of urban design in which the figurative force is the result of consideration based on the visual relationships between objects. The experiences presented outline certain unreal circumstances, but nevertheless inspire a scale evaluation of the results of planned modifications, and suggest corrections, adjustments and new possibilities. The experimental setting, that some may deem fantastical, is derived from the superimposition of an existing environment and works introduced from other contexts. In this way, the artist can redesign and foreshadow, creating a fictional city that can paradoxically serve as a reference in the development of new possible urban settings. The juxtaposition of well-known architectures to provide form to new spatial connections in the environment verifies new unthought-of opportunities to compose buildings and monuments that modify the space. The inventions resulting from the union of individual architectures into unitary visions that do not organically belong together is a particular iconography in which buildings abandon the passive and ornamental function thanks to which we have got to know them and reacquire an actively elevated role in the project. A similar procedure that tests the possibility of enhancement of the context and the monument was experimented by the greatest architect of romantic classicism, Karl Friedrich Schinkel, and can be seen in one of his best known designs called Large composition, how Milan Cathedral should be situated (1810). So the monument of the Lombard city is represented on a hill that overlooks a large city on the coast, perhaps Trieste, in order to test a new version of the relationship, here between architecture and nature. It is one of the most well-known anticipated explorations carried out in the past in a planning method facilitating upstream project verification aimed at the evaluation on the one hand of the impact of a new architecture on the environment, and on the other hand, of the opportunity to enhance a given place.

Content

Author and article information

Contributors

Enrico Pietrogrande

Alessandro Dalla Caneva

Nicola Sartorello

Conference

Publication date: July 2017

Publication date (Print): July 2017

Pages: 250-257

Affiliations

[0001]University of Padua, D.I.C.E.A.

Via Marzolo 9, 35131 Padua, Italy

Article

DOI: 10.14236/ewic/EVA2017.53

SO-VID: 05cf479a-9f2f-4a53-a61e-9979a7d5d42c

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts (EVA 2017)

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 11 – 13 July 2017

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2017.53

Self URI (journal page): https://ewic.bcs.org/

6. REFERENCES

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G. Contessi 1985 Architetti-pittori e pittori-architetti. Da Giotto all’età contemporanea. Edizioni Dedalo Bari
Le Corbusier 1979 first edition 1930 Prologo americano, in F. Tentori Precisazioni sullo stato attuale dell’architettura e dell’urbanistica. Rome-Bari Laterza 19
A. Loos 1992 first edition 1910 Architettura, in Parole nel vuoto Adelphi Milan 255
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Comments

Comment on this article

[1] H. P. Berlage 1934 Het Wezen der Bouwkunnst en haar geschiedenis (aesthetique beschowingen) F. De ErvenN.V. Bohn Harlem

[2] G. Contessi 1985 Architetti-pittori e pittori-architetti. Da Giotto all’età contemporanea. Edizioni Dedalo Bari

[3] Le Corbusier 1979 first edition 1930 Prologo americano, in F. Tentori Precisazioni sullo stato attuale dell’architettura e dell’urbanistica. Rome-Bari Laterza 19

[4] A. Loos 1992 first edition 1910 Architettura, in Parole nel vuoto Adelphi Milan 255

[5] A. Quatremère de Quincy 1832 Immaginazione G. TeyssotV. Farinati 1985 Quatremère de Quincy. Dizionario storico di architettura. Marsilio Editore Venice

[6] A. Rossi 1975 Scritti scelti sull’architettura e la città 1956-1972. Clup Milan

[7] A. Rossi 2008 G. Celant Aldo Rossi. Disegni. Skira editore Milan 195

[8] L. Semerani 1982 La scuola di Venezia, in Progetti per la città veneta 1926-1981. Neri Pozza Editore, Vicenza 17

[9] G. Sestieri 2015 Il Capriccio Architettonico in Italia nel XVII e XVIII secolo. Etgraphiae editoriale Rome

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