Venice.Projects 16. Venezuelan Pavilion for the Venice Biennale. Gallerie dell'accademia Renovation. Querini Stampalia Foundation

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1 Venice Projects 16 Created 11-Aug-16 By Chamoun Issa, London, United Kingdom Venezuelan Pavilion for the Venice Biennale Venice, Alvar Aalto pavilion Venice, exposition space, museum Finnish Pavilion for the Venice Biennale 3 Dutch Pavilion for the Venice Biennale Ticket booth for the Venice Biennale Sculpture Garden for the Venice Biennale 5 Aula Mario Baratto Restoration 6 7 Spazio Vedova Querini Stampalia Bridge 12 IUAV's main gate - Tolentini 13 Entrance Faculty of Letters and Philosophy 14 Palazzo Fondazione Masieri 15 Venice, memorial space, museum 8 Palazzo Grassi Renovation 16 Venice, Tadao Ando museum, renovation Venice, sculpture 11 Venice, education, university Venice, auditorium, renovation, university Base for the 'Partigiana' by Augusto Murer Querini Stampalia Foundation Venice, education, university Venice, garden, sculpture 10 Venice, bridge, museum Venice, kiosk 4 Venice, Gerrit Rietveld pavilion Gallerie dell'accademia Renovation Venice, museum, renovation Venice, pavilion 2 9 Venice, Renzo Piano exposition space, gallery, museum San Michele Cemetery Extension 17 Venice, David Chipperfield s cemetery 1

2 photo: seier+seier photo: seier+seier Venezuelan Pavilion for the Venice Biennale Giardini Pubblici Venice In 1953 Graziano Gasparini, Venezuelan commissioner for the Biennale, asked to design a pavilion for Venezuela In January 1954, the pavilion design is approved and the structure is roughly completed by October, while the XXVII Biennale is finishing Only by 1956 the pavilion finishings are completed It is conceived as three volumes sliding against each other The form is simple and realized in rough concrete Venezuelan Government lmattozz Get off at the Giardini boat station and walk towards the Biennale entrance 2

3 photo: Addison Godel photo: Addison Godel Finnish Pavilion for the Venice Biennale Giardini Pubblici Venice In 1955 Maire Gullichsen of the Contemporary Art Association of Helsinki charges Alvar Aalto with the design of a temporary pavilion for Finland, while waiting for a Nordic Countries Pavilion The concept behind the project, as Aalto once said, is something in between a Sámi tent, the transportable Altar of private Swejk and the Chapel Pazzi In 1956 the building is ready to be shipped in pieces from Helsinki The blue and white wooden structure, that was supposed to be temporary, has become over time an icon of the Biennale pavilions photo: Addison Godel Alvar Aalto lmattozz Get off at the Giardini boat station and walk towards the Biennale entrance 3

4 Dutch Pavilion for the Venice Biennale Giardini Pubblici Venice In 1953, the Dutch government decides to bring down the 1912 pavilion by Ferdinand Boberg and puts Gerrit Thomas Rietveld in charge of designing the new Dutch pavilion The new pavilion has a simple square plan and few interior walls, all orthogonal to the exterior ones The building contains volumes of different heights in order to get light from above Gerrit Rietveld Dutch Government lmattozz Get off at the Giardini boat station and walk towards the Biennale entrance 4

5 Ticket booth for the Venice Biennale Viale Trieste Venice Conceived for the XXVI Venice Biennale art exhibition, the ticketing booth at the entrance of the Giardini Pubblici is a tiny work of art The booth was finished in 1952 and was used for many decades It was completely restored in 2004, although it is no longer in use The little booth is conceived as a small pavilion in itself mixing concrete, iron and wood La Biennale di Venezia lmattozz Get off at the 'Giardini' boat stop and walk towards the entrance of the Biennale 5

6 Sculpture Garden for the Venice Biennale Giardini Pubblici Venice In 1952, designed the Sculpture Garden for the Venice Biennale within a patio of the Italian Pavilion, originally designed in 1932 by Duilio Torres The little garden plays with light, shadow and water Three heavy elliptical columns support a canopy roof which is shaped as if three circles would have been subtracted from a rectangle The garden has not been in use for many years and only recently it has been completely restored La Biennale di Venezia lmattozz Get off at the Giardini boat station and walk towards the Biennale entrance 6

7 photo: Paulo Simoes photo: Paulo Simoes Aula Mario Baratto Restoration Dorsoduro Venice worked on two different projects for the Ca' Foscari University, the first one from 1935 to 1937 and the second one from 1955 to 1956 The first project was the complete restoration of the building, with its most visible traces now being the ground floor hall, glazed on both opposite ends for views of the grand canal and the courtyard, the staircase and parts of the main lecture hall The second intervention focused on the lecture hall (Mario Baratto Room) and created a complex wooden structure, separating the entrance space from the room This structure was made with wood from a demolished tribune belonging to the first project that stood in the same place In 1979, the room was destroyed by fire but was later rebuilt to Scarpa's design photo: Paulo Simoes 1956 Ca' Foscari University void Tours: Monday, Thursday and Friday: 1130 Monday to Friday: 1600 Meeting point on the ground floor of Ca Foscari Vaporetto Line 1 - S Tomà or Ca' Rezzonico Line 2 - S Tomà 7

8 photo: Paulo Simoes photo: Paulo Simoes Base for the 'Partigiana' by Augusto Murer Viale dei Giardini Pubblici Venice In 1968, Scarpa designed the base for a sculpture by Augusto Murer, representing the 'partigiana' The sculpture represents a woman, lying with her hands tied, and was placed on a platform floating on the water The base is made from concrete with copper plates, and is surrounded by an irregular 'field' of concrete and stone prisms with varying heights photo: Paulo Simoes 1968 Comune di Venezia void 8

9 photo: Paulo Simoes Spazio Vedova Sestiere Dorsoduro Venice Renzo Piano designed the conversion of the former studio of Venetian painter Emilio Vedova ( ), located in the former 'Magazzini del Sale', into a space to exhibit his works The proposal is an insert entirely made from brushed larch slats, carefully placed inside the existing space, whose brick walls and roof trusses were left exposed The insert is composed by two walls that mark the entrance and house the service spaces, and an inclined floor raising from the entrance to the back of the warehouse, where a metallic structure stores Vedova's paintings At predetermined hours of the day, ten robotic arms hanging from a rail running along the ceiling make a kind of mechanical choreography, taking the works from the storage structure and placing them on display throughout the space photo: Paulo Simoes Floor area/size m² Renzo Piano Fondazione Emilio e Annabianca Vedova void Wednesday - Sunday: The three series of works by Emilio Vedova will alternate at 1140 / 1310 / 1440 / 1610 & 1740 Vaporetto: Line 1: Accademia or Salute stops Line 2: Accademia stop Lines 51 or 52: Zattere stop 9

10 Gallerie dell'accademia Renovation Campo della Carità Venice The Gallerie dell'accademia is the museum gallery of pre-1800s art in Venice Between 1945 and 1959, has worked on restoring the building and setting the new exhibition area His intervention is delicate and consists essentially of small elements such as new stairs, new holding panels for the paintings and new standing panels to guide the visitors Interior architect Comune di Venezia lmattozz Mondays: / Tuesdays - Sundays: Get off at Accademia boat station 10

11 photo: Apollo Spiliotis photo: Apollo Spiliotis Querini Stampalia Foundation Castello Venice The Foundation Querini Stampalia was founded in 1869 by the will of John Conte, the last descendant of the family of Venetian patrician Querini Stampalia It is the only example where, of an ancient family, they preserved heritage, home, library, archives, collections of art, furniture and furnishings The sixteenth century palace, located between Rialto and San Marco, houses a library, civic center and historical museum The ground floor and garden were redesigned by in the early 60s Recently Mario Botta has designed the new access, bookshop and cafeteria (See also on MIMOA) The Foundation organizes exhibitions, conferences, meetings, seminars and collaborations with organizations and companies, some of which are associated with the Circle Queriniano - The members of the Circle support actively the life of the Foundation by participating in the development and growth of its activities and its archival collections literature and art) photo: Apollo Spiliotis 1963 Fondazione Querini Stampalia MI_MOA Museum exhibitions: Tuesday to Saturday 10 / 20; Sunday and holidays 10 / 19; closed Monday Library and Emeroteca: Tuesday to Saturday 10 / 24; Sunday and holidays 10 / 19; closed Monday Bookshop: Tuesday to Saturday 10 / 2015; Sunday and holidays 10 / 1915; closed Monday Cafeteria and Restaurant: Tuesday to Saturday 10 / 2345; Sunday and holidays 10 / 19; closed Monday 11

12 photo: Dave Brown photo: Dave Brown Querini Stampalia Bridge Castello Venice The museum Querini Stampalia is a historical sixteenth century building, formerly inhabited by a patriarch of Venice and embellished by stucco and frescoes The museum on the second floor, preserves one of the richest art collections of the lagoon city with over four hundred paintings from the nineteenth century In 1961 was commissioned to do the restoration of the ground-floor and and garden at the rear of the building that was in a state of extreme neglect and degradation He rearranged the garden for use as an gallery and exhibition space, as the ground floor was frequently unusable due to the overflow of seawater at high tide The bridge forms a new access to the museum The project was built over ten years, under the direction of Joseph Mazzariol, friend and supporter of the Venetian master The project incorporates the inevitable water overflow as a fundamental design element in a very ingenious way photo: Dave Brown 1963 Fondazione Querini Stampalia MI_MOA 12

13 photo: Jiat-Hwee Chang photo: Dave Brown IUAV's main gate - Tolentini Santa Croce Venice The Tolentini premises are located near Piazzale Roma and was designed by Vincenzo Scamozzi in the sixteenth century and restored by Daniele Calabi in the early 1960 s The convent is recognised for its particular architectural components: cloister with columned porch, a first floor with cells on three sides, and a meeting hall at the margin of the cloister The second floor contains larger open spaces and a rare example of a 15th century walkway perhaps designed by Scamozzi The convent was closed by Napoleon in 1810 and has since been used for various purposes In 1958 the State Property Office made the building complex available to the IUAV and initiated certain works which were led by civil engineers The restoration work on the complex s interior took place between 1960 and 1965 under the direction of architects Daniele Calabi and Guido Bacci In 1985 the entrance way, acquired by gratuitous transfer in 1979, was transformed according to the project by photo: Jiat-Hwee Chang 1985 Structural engineer Project manager Carlo Maschietto Sergio Los MI_MOA 13

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

15 Palazzo Fondazione Masieri Dorsoduro Venice In 1968 was asked to make a project for the Masieri Foundation It was not until 1973 that the project was approved by the City Council and it forced him to keep the original façade and exterior of the palace facing the Grand Canal The façade is in fact detached from the floors, through spacial cuts The interior was completely renovated and new materials as concrete and steel were introduced After Scarpa's death, which occurred in 1979, the work was completed by some collaborators The Palace was finally inaugurated in 1983 Project is not public! Interior architect lmattozz Get off at STomà Vaporetto Station After Calle del Vaporetto turn left, cross a bridge and walk for 20 metres 15

16 Palazzo Grassi Renovation Campo San Samuele Venice Palazzo Grassi was restored in 1983 by Gae Aulenti in order to hold art and historical exhibitions for the Agnelli family In 2005, the building was bought by François Pinault who called upon Tadao Ando to renovate the setting in order to display his modern and contemporary art collection Ando's intervention is delicate and done mostly with light, white marble stucco and grey linoleum The whole is conceived to set a soft tone around the rich original decoration of the building elements , Interior architect Tadao Ando lmattozz François Pinault Wednesday to Monday: / Closed on Tuesdays Get off at San Samuele boat station 16

17 photo: Mieke Vullings photo: Mieke Vullings San Michele Cemetery Extension San Michele Venice Venice s principal cemetery San Michele is located on an island between Venice and Murano The design redefines some of it's original physical qualities In the 1st phase the current burial grounds are complemented by the construction of a series of new courtyards and a chapel The first courtyard is a prototype and opened to the public in September 2007 It's called the courtyard of the four Evangelists : basalt-clad walls and pavements with inlaid text from the four Evangelists gospels and a black exposed concrete colonnade The second phase is the construction of a new island, parallel to the existing cemetery but separated by a canal It will feature tomb buildings, conceived as simple sculpted blocks, together with a series of gardens at water level Unlike the remainder of San Michele, which is higher above the water line and surrounded by a wall, this new island seeks to create a more open, accessible monument providing a greater sense of place and context within the lagoon photo: David Chipperfield s Floor area/size m² Services engineer Structural engineer Associate architect Services engineer Landscape designer David Chipperfield s ARUP Jane Wernick Associates SSSR Associati Studio Associato Vio Wirtz International Comune di Venezia David_Chipperfield The part of the cemetery by Chipperfield lies on the north-eastern corner At arrival with the ferry (on the western side of the island), cross the island to the east 17