BENETKE

SEMINAR KOBE 14I15

UDELEENCI

KONTAKTI

prof. Jurij Kobe

Rok nidari
Paul Robinson
Paulo Barbaresi
Katarina ak

iiiii

00 386 41 373 193

00 386 31 870 936

Amadej Mravlak
Andra Hrovat
Davor Fistri
Eva Matijaevi
Eva Mavsar
Gregor Mlja
Ines Galun
Jakov Brdar
Jani Petrovi
Jernej Markelj
Jure Ule
Katja Marini
Lara Baler
Lea Dena
Marko Fii
Metka Lozej
Mirsad Begi
Nejc Gazvoda
Nua epin
Nua Zupanc
Peter Plantan
Petra Colari
Petra Mendui
Rok Lovin
Romina otar
Sergije Lugovski
pela tremfelj
Tanja Kouh
Tjaa Varnik
Ura Koren
Vesna Perovnik
an Menegatti

HOTEL

AWA VENICE APARTHOTEL SAN MARCO

271 CASTELLO, CALLE DEI FURLANI
30122 VENEZIA, ITALIA

ARH

CARLO SCARPA

1906-1978

ivljenjepis

Carlo Scarpa se je rodil 2. junija 1906 v Benetkah. Ko je bil star 2

leti so se preselili v Vicenzo, leta 1919 pa so se ponovno preselili
v Benetke, kjer se je vpisal na akademijo, smer za arhitekturno risanje. V letih 1922-24 je zael njegove prve projekte kot
sodelavec v podjetju Architect V. Rinaldo in v letu 1926 opravil
diplomo za profesorja arhitekturnega risanja v Kraljevi umetnostni akademiji v Benetkah. Svojo kariero je nato nadaljeval v
Royal Superior Institute of Architecture v Benetkah, v letu 1972
pa je postal direktor arhitekturnega intituta Beneke univerze.
Scarpov sloves se je zael ele po drugi svetovni vojni, ko so
njegova dela zaela kazati poseben vpliv, ki ga je dobil od Franka Lloyd Wrighta in Josefa Hoffmana.
Umrl je leta 1978 na Japonskem, pokopan pa je v Brion Tombu,
ki je tudi njegovo najbolje arhitekturno delo.

Dela

Vhod IUAV (Instituto Universitario de Arquitectura Venecia)

Prenova Benetk: constituting an integrated part of its historical place and culture.

Eva Matijaevi

Olivetti Showrrom 1957

Spodnji del skulpture La Partigiana od Augusta Murer-ja 1968

Prenova Ca Foscari (1936)

ARH

ANDREA PALLADIO

(Andrea di Pietro della Gondola) 1508-1580

Andrea Palladio je bil italijanski renesanni arhitekt, ki je deloval v takratni Beneki republiki. Najprej se je olal za klesarja,
nato pa je odel tudirat antino arhitekturo v Rim. Po smrti
mecena sta ga podpirala brata Barbaro in ga spoznala z Benetkami. Tako je postal Proto della Serenissima oz. Glavni arhitekt
Beneke republike.

Paladijanski klasicizem

Svoj stil je zael oblikovati okoli leta 1541. Nanj sta vplivali
grka in rimska arhitektura ter Vitruvijevo delo De architectura. Paladijanski stil, poimenovan po njemu, se dri klasinih
rimskih nael, ki jih je znova odkril in uporabil v svojih delih.
Znan je kot eden najbolj vplivnih arhitektov v Zahodni arhitekturi, njegova dela pa so bila stoletja vrednotena kot bistvo renesanse, miru in harmonije. Razvil je 3 tipe zgradb: meansko
palao, podeelsko vilo in cerkev. Veina vil stoji v provinci Vicenza, palae v mestu Vicenza, veina cerkev pa v Benetkah.

Dela v Benetkah

- Prostori v Palazzo Ducale,1574

- Fasada bazilike San Pietro di
Castello, 1559
- Fasada cerkve San Francesco
della vigna, 1564
- Cerkev San Georgio Maggiore,
1565-1576
- Cerkev Le Zitelle, 1574
- Cerkev il Redentore, 1576

Ura Koren

ARH

VITTORIO GREGOTTI

1927-present

Vittorio Gregotti je kurator prve razstave na Biennalu leta

1975. Je glavni arhitekt pri Gregotti Associati studio, kateri je
imel projekte po celem svetu. V Benetkah sta med vejimi deli
reogranizacija starega pristanikega dela (1990), kjer predlagajo spremembo obmoja v zelene povrine povezali bi
obmorski del s otokom Tronchetto (kjer je parkirna hia); ter
stanovanjska etrt v Cannaregiu (1981-2002). Projekt vsebuje 6
stanovanjskih stavb s skupno 192 bivalnimi enotami. Obmoje
je sestavljeno iz treh otokov, ki so povezani s temeljem kanala
Cannaregio.

1927
Reorganizacija starega pristanikega dela

Tloris stanovanjske etrti v Cannaregiu

1927

Notranje dvorie v stanovanjski etrti

Katja Marini

ARH

EDVARD RAVNIKAR

1907-1993

Tronchetto revitalizacija beneke lagune

Leta 1964 prvonagrajena reitev, je nastala, kot odgovor na nateajno vpraanje razvoja beneke lagune do leta 2000. Glavna
tema je postopno zmanjevanje kopenskega prometa na otok
Bentek in preobrazba predela Tronchetto v novo urbano tkivo,
ki je enakovredno tistemu v centru mesta.
Tronchetto je umeten otok industrijskega znaaja
na zahodu starega jedra Benetk, zgrajen v 60 letih prejnega
stoletja, za servisne potrebe mesta, v obliki pristani, parkiri
in skladi. Z izgradnjo kopenske povezave s celino na zaetku stoletja ta predel postane nova vstopna toka v staro jedro,
prej so to bila pristania pri sv. Marku.
Projekt je bil zasnovan kot potek treh faz z medsebojnim intervalom 7 do 10 let.

Marko Fii

Skozi faze opazimo premestitev eleznice in pristani z Obmoja Tronchetto na celino, bive eleznike postaje se preobrazijo v novo univerzo, ostali predeli parkiri in pristani pa
se preoblikujejo v nove kvalitetne javne povrine, namenjene
rekreaciji in oddihu.
Pozornost se vraa pecem, tako zmanjevanje avtomobilskega prometa v staro jedro, v konni fazi vodi v popolno
izoliranost od celine. Nove in edine povezave nastanejo zopet na vodi in tvorijo mono mreo po celotni laguni, ponovno
zaivi gondola kot simbol, vhod v staro jedro se vrne na prvotno
mesto, Benetke tako dobijo nazaj karakter, ki so ga vedno imele.
S prenovo bi Benetke vzpostavili kot center regije,
sestavljene iz vejih in manjih mest, ki bi ustvarile moan utrip
vendar drugaen od preteklosti.
Vodopivec A.,nidari R. 2008, Edvard Ravnikar: Architect and
teacher, Dunaj: Springer-Verlag

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LOUIS I. KAHN

1901-1974

1968 Louis Kahn oblikuje konferenni center v Benetkah. Celotna struktura, armiran beton z marmornatimi detajli, je zasnovana kot 122m dolg visei most, oprt na dveh straneh in z
dvema stebroma na vsaki, kjer potekajo komunikacije. Skupno
naj bi dvorana sprejela od 2500-3000 ljudi. Talna ploa iz armiranega prednapetega betona je zasnovana v obliki verinice.
Navdih za njo je rpal iz Sienskega Il Campo, kjer se ljudje niso
osredotoali le na nastopajoega, temve tudi na obinstvo.
Konferenno dvorano si je zamislil kot javni trg, do katerega
bi ljudje dostopali po dveh ulicah, ki sta del mostu. Ti ulici sta
povezani s sprejemno dvorano, ki se nahaja nad kongresno.
Nad njo se na strehi nahajajo tri kupole iz jekla in stekla. Na
njih bi ljudje lahko sedeli in opazovali mesto. Tako v projektu
zdrui dva fenomena: konveksno (autrovertirani pogledi) in
prej omenjeno konkavno (ljudje obrnjeni navznoter, drug proti
drugemu). Sprva naj bi Palazzo dei Congressi gradili na lokaciji
Giardini Publici, nato na obmoju Arsenalov. Nerealizirano.

Eva Mavsar

ARH

FRANK LLOYD WRIGHT

1867-1959

Frank Lloyd Wright, je ameriki arhitekt, notranji oblikovalec,

pisec in pedagog. Wright je bil predstavnik t.i. organske arhitekture. Nartoval je ve kot 1000 projektov, od katerih je
bilo dokonanih ve kot 500. Poleg tega je napisal 20 knjig in
mnogo lankov o arhitekturi ter predaval v ZDA in Evropi.

Masieri Memorial

Obisk Wrighta v Benetkah, junija 1951, je pripeljala do enega

od najglasneih kulturnih vpraanj, ki ga je v dvajsetem stoletju
doivela italijanska arhitektura. Problem je nastal zaradi projekta, ki ga je Wright zasnoval za Masieri Memorial, ki se nahaja ob
kanalu Grande. Ve mesecev je polnil strani asopisov, tako v
Italiji kot v tujini. Zaeli so se neskonni pogovori, obinski svet
Benetk se je sprl z mnogimi pomembnimi kulturnimi in javnih
osebnosti preko vseh monih vidikov projekta. Izid razprave je
vplivalo na veliko veji vpraanje: usodo prihodnjega planiranja in grajenja v starem mestnem jedru Benetk. Projekt Masieri
Memorial nikoli ni bil realiziran.

Gregor Mlja

ARH

DAVID CHIPPERFIELD

1953- present

David Chipperfield je Britanski arhitekt. tudiral je arhitekturo

na londonski univerzi Kingston Polytechnic. Kariero je priel v
birojih znanih arhitektov kot so Douglas Stephen, Richard Rogers in Norman Foster. Po letih uenja od najboljih, je zael z
lastno kariero in ustanovil David Chipperfield Architects biroje.
En izmed njegovih pomembnih projektov v Benetkah je raziritev pokopalia svetega Mihaela, ki se nahaja na otoku med
mestom in otokom Murano.
Prenova pokopalia je potekala v dveh fazah. V prvi je k e obstojeemu pokopaliu pripojil dodatne pogrebne kapacitete
in kapelo. Pri drugi fazi pa gre za konstrukcijo novega otoka,
vzporednega z omenjenim pokopaliem, a loenega z vodnim kanalom.
Nov del pokopalia vsebuje preprosto oblikovane grobnice
in vrtove. Le-ti leijo na nivoju vodne gladine in ustvarjajo
obutek bolj odprtega, dostopnejega prostora.

Romina otar

ARH

LE CORBUSIER

1887-1965

Charles-douard Jeanneret-Gris, ki ga poznamo pod psevdonimom Le Corbusier je bil vicarsko-francoski arhitekt, oblikovalec, pisec in slikar. Pri trinajstih letih je zapustil osnovno olo in
se odpravil uiti umetnosti oblikovanja in graviranja tevilnic
in ohiij na urah in s tem slediti oetovemu poklicu. Delal je
pod mentorstvom LEplattenierja, ki ga Le Corbusier imenuje
moj gospodar. Uil ga je umetnostne zgodovine, risanja in
naturalistine estetike art nouveau. Kmalu je opustil urarstvo in
je nadaljeval tudij na podroju umetnosti in dekoracije v eljji,
da bi postal slikar, a je njegov uitelj vstrajal naj tudira tudi
arhitekturo. Po oblikovanju svoje prve hie leta 1907, ko je bil
star komaj 20 let, se je Le Corbusier odpravil na potovanje po
srednji Evropi in Sredozemlju. Bil je v Parizu, Minchenu na Dunaju in v Italiji in bil med tem pripravnik pri tevilnih arhitektih.
Potovanja so igrala kljuno vlogo pri izobraevanju Le Corbusierja. Benetke, v katerih je bil leta 1906 so bile zanj razodetje.

Jure Ule

Videl jih je kot mesto, kateremu na svetu ni para. Skoraj estdeset let kasneje, je dobil naroilo Benekih oblasti za urbanistino in arhitekturno intervencijo; novo Beneko bolninico.
In eprav ta nikdar ni bila izvedena (Le Corbusier leta 1965
umre) ostaja eden od zelo cenjenih Corbusierjevih projektov.
.Program objekta sestavlja veliko poslopje z 1200 posteljami
namenjenimi pacientom. Veliko tevilo uporabnikov objekta
je zahtevala objekt, ki je mesto v malem in tako zabrie meje
med urbanim planiranjem in arhitekturo. Medtem, ko je veina
Le Corbusierjevega urbanega planiranja delovala v kontrastu
s starimi mestnimi ustroji v svojem zadnjem projektu avtor interpretira rastno in prostorsko logiko antinega mesta kot so
Benetke in inkonponira sistem pol-avtonomnh otokov in trgov,
povezanih z mostovi. Projekt si ne eli postati landmark ampak deluje kot podaljek mestnega tkiva. Posamina soba celica je minimalna enota objekta in deluje kot temelj za konstrukcijo celotnega projekta. Sobe so oblikovane tako, da ponujajo
popolno izolacijo brez navzven gledajoih oken. Svetloba vstopi vanje le skozi svetlobnike, katerim lahko pacienti regulirajo
odprtost. Modul dveh sob, ki gledajo na vmesni hodnik je ponovljen skozi celotno stavbo. V prerezu so predeli za paciente
zmeraj na vrhu, medtem ko se ostale funkcije nahajajo na nijih
nadstropjih. Pritlije, grajeno na pilotih, vsebuje vhode, administracijo in pristanie. Na prvem nadstropju so vsi zdravniki
oddelki in ordinacije. Vsak skupek 28 sob sestavlja kvadratno
enoto, katere so nato po tiri situirane okoli osrednjega trga
in dostopne iz tirih strani. Osnovni koncept za to ureditvijo je
ustvarjenje idealne povezave med lovekom in mestom. Enote
so postavljene tako, da omogoajo nadaljno rast sistema, e
bi se pokazale potrebe po novih povrinah. Projekt tako na
nek nain racionalizira zgodovinsko labirint strukturo Benetk
in njen znailen izmenjajo se odnos med trgi in kanali in jih
transformira v modularno ponavljajoo strukturo.

ARH

TADAO ANDO

1953 - present
1941

Tadao Ando

Tadao Ando (rojen 1941, Osaka, Japonska) velja za enega najpomembnejih in najvplivnejih japonskih arhitektov. Znan
je po svoji isti in strogi kompoziciji in premiljeni uporabi
materialov, predvsem betona. V njegovi arhitekturi je izkunja
prostora in narave - sonne svetlobe, neba in vetra - ena izmed
osrednjih tem.

Tadao Ando in Benetke

Andova dela v Benetkah so razdeljena v tri korake, tri razline

projekte, ki imajo skupen imenovalec - in sicer bogatega mecena Franois Pinault-a. Franois je lastnik ene najvejih privatnih
zbirk umetnikih del in velik ljubitelj umetnosti in kulture. Njuno prvo sodelovanje je bilo pri projektu Punta della Dogana.

Punta della Dogana

Punta della Dogana je stavba, ki ima preprosto in racionalno

strukturo. Volumen stavbe tvori trikotnik, ki se neposredno
prilagaja obliki konice Dorsoduro otoka. Notranjost je razdeljena na dolge pravokotne prostore, ki jih loujejo med seboj vzporedni zidovi. Zaradi velikega spotovanja do stavbe je pred
renovacijo odstranil vsa dela, ki so bila do tedaj storjena znotraj stavbe in ji tako povrnil prvotno obliko in prvotni obutek
prostora.
Andova ideja preureditve je bila zelo jasna. Zamislil si je enostavno potezo, ki povee, odpre in ohrani obstojeo stavbo z
Grand kanalom in Giudecca kanalom.

Jani Petrovi

Palazzo Grassi

Palazzo Grasci je drugi projekt, ki je temelil na njunem sodelovanju.

Andovi posegi v stavbo so zamiljeni kot minimalistini dodatki, s katerimi ne eli spremenit prvotne atmosfere in prostora
historine stavbe. V prostorih, ki so namenjeni predvsem razstavam je dodal samostojee bele predelene stene, ki so rahlo
odmaknjene od prvotnih sten in tako omogoajo obiskovalcem neposreden pogled in stik s steno. Pri izbiri barv in njenih
odtenkov v notranjosti je bil prav tako dosleden in tako ohranil
mirno vzduje in potrebno podlago, ki predstavlja dosledno
ozadje za razstavljena dela. Zanimiv je e dodatek pri strehi nad
atrijem. Pod steklo je obesil prozorno tkanino in s tem pridobil
difuzno svetlobo, ki je ugodneja za razstavna dela.

Teatrino

Teatrino je bil prvotno zasnovan kot vrt ob Palazzo Grassi. Kot

zaasen ukrep so leta 1951 zgradili gledlie, vendar je stavba
kmalu zaela izgubljati svoj sijaj in zanimanje ljudi. Ker je v Benetkah skoraj nemogoe dobiti dovoljen za poruitev stavbe je
njegova zamisel sestavljena iz dveh delov - ohranitve zunanjega oboda in vkljuitve betonske kocke v stavbi, ki vsebuje
gledaliko dvorano. S tem je ohranil spomin na prvotno stanje
v sodelovanju z bolj sodobnim slogom arhitekture.
Dvorana obsega 1.000 kvadranih metrov in je opremljena z
220 sedei. Namen postavitve dvorane je bil, da se s tem e izbolja kakovost pogojev za namene kulturnega izobraevanja
ljudi v obliki predavanj, delavnic, koncertov in drugih dejavnosti, ki bi potekali pod okriljem mecena Franois Pinault-a in bi
bila namenjena iri javnosti.

ARH

ALDO ROSSI

1931-1997

Aldo Rossi je italijanski arhitekt in oblikovalec, ki je dosegel

mednarodno priznanje za tiri razlina podroja na katerih je
deloval: teorija, risanje, arhitektura in oblikovanje predmetov.

Teatro del Mondo

Arhitekt je Teatro del Mondo ustvaril za namene benekega

bienala, in je bil uradno odprt 11. novembra 1979 z idejo obuditi stara plavajoa gledalia, ki so bila znailna za Benteke v
18. stoletju. Notranjost je modificiral s sodobnimi tendencami,
e vedno pa je razvidno, da gre za plavajoe gledalie. Objekt
je bil zgrajen v ladjedelnici Fushina, od koder so ga z vlailci
odvlekli na njegovo razstavno mesto. Izdelano je iz med seboj
spojenih jeklenih nosilcev, ki tvorijo konstrukcijo splava. Sestoji
iz kvadrata dimenzij 9,5m x 9,5m, v viino meri 11m, nanj pa je
postavljen 6m visok osmerokotnik. Vrh kocke omogoa dostop
do balkona s pogledom na Guidecco. Struktura jeklenih cevi je
obloena z lesom. Kasneje je bil objekt prestavljen v Genovo.

Petra Mendui

KIP

DONATELLO

1386-1466

Donatello se je uveljavil v asu renesanse. Bil je izjemno tehnino podkovan in privren humanistinim idealom. Izdeloval je
kipe iz marmorja, brona, lesa in gane gline.
Donatellovo kiparstvo je bilo usmerjeno proti idealom antike,
a hkrati se je nagibal k realizmu. Njegov stil lahko oznaimo
kot nervoznega in dramatinega. Veliko je ustvarjal v Firencah.
Renesansi v Firencah so se prizadevala pridruiti vsa italijanska
mesta, vendar je v severni Italiji gotika pognala globoke korenine, zato je bila v veini del e dolgo vidna gotska simbolika.
Njegovo najbolj znano delo je zagotovo David iz brona, ki se
nahaja v Firencah.

Kip Sv. Janeza Krstnika

Kip v lesu ne velja za eno Donatellovih najpomembnejih del.

Nahaja se v florentinski kapeli, v veliki beneki cerkvi. Janez
Krstnik je upodobljen, kot ponian, alosten, pust, izraz na
obrazu pa je zmeden.

Metka Lozej

ARH

CINO ZUCCHI

1955 (Milano, Italija)-present

Diplomiral je leta 1978 na Massachusetts Institute of Technoogy (cambridge, Mass.). Leta 1979 je dobil Laurea in Architettura
na Politecnico di Milano 1979, kjer je tudi glavni profesor Arhitekturnega in urbanega dizajna. Bil je urednik revije Qa od
leta 1989 do 1995, objavljal pa je tudi v drugih revijah, kot so
Domus, Lotus international, Casabella, Design Book Review,
Arch+, Intersezioni in Bau.
Je tudi ustanovitelj arhitekturnega biroja Cino Zucchi Architetti

Zucchi v Benetkah:

Ex-Junghans industrial area, Urban renewal plan, Giudecca,

Venice 1996-1997
Postavitev projekta prepoznava v Giudecci prisotnost dveh
heterogenis skal: eno iz gostih materialov na severni strani
otoka, in tisto iz redkih na industrijski strani.
Projekt se obnaa kot mikro operacija v prejni industrijski
coni, ki nadomesti globoko transformacijo, z majhnimi ureditvami obstojeih stavb in odprtih prostorov.Ex - Junghans je
odprta proti mestu, in s tem pripomore k lepemu pogledu
na izjemen relief Lagune. Arhitekturni razvoj projekta eli vzpostaviti sodoben odnos z tradicijo in edinstvenostjo Benetkinega urbanega Reliefa.

Amadej Mravlak

ARH

BORIS PODRECCA

1940 (Beograd, Srbija)-present

Rojen 30. januarja 1940 v Beogradu oetu slovencu in srbski

materi. Slovensko ime Poreka se je leta 1930 italijaniziralo v Podrecca. Po drugi svetovni vojni se je druina preselila v Trst, kjer
je Boris zael obiskovati osnovno olo s slovenskim
programom. Leta 1960 se je preselil na Dunaj, kjer je zael
tudirati arhitekturo na Univerzi za tehnologijo in leta 1968
diplomiral s profesorjem Ronaldom Rainerjem. Od leta 1979
do 1981 je bil asistent na tehnini univerzi v Munchu in kasneje
, kot predavateljski gost v Lausanne, Parizu, Benetkah, Philadelphiji, Londonu, na Harvardu, v Bostonu in na Dunaju.
Od leta 1988 do 2006 je bil profesor na Tehnini univerzi v
tudgardu in direktor intituta za arhitekturni dizajn in teorijo
prostora. Je tudi lan slovenske, hrvake in srbske akademije
znanosti in umetnosti.
Prepoznaven je postal z razstavo o delih Carla Scarpe v cerkvi
Chiesa della Carita na Biennalu v Benetkah leta 1984 in kasneje
na razstavi Villes dEauc v Parizu. Organiziral je tudi razstavo del
Joeta Plenika, leta 1986v Pompidou Centru, v Parizu.
In bil vodilni pri postavljanju razstave Biedermeier na Dunaju
(1987), Bismarck, Prussia, Nemija in Europa v Berlinu (1990) ter
Sto let austrijskih raztav leta 1999

Podrecca v Benetkah

Stanovanjska zgradba Judeca Nova, Giudecca, Benetke, Italija,

1995-2003. Pet hi, ki so nastale z mednarodnim nateajem,
vsebuje lastnosti beneke tradicionalne bivalne arhitekture:
opeko, omet in kamen, ki so tematsko povezani s t. i. revnimi
Benetkami, Venezia povera. Lega hi poudarja prehod glavnega kanala v laguno.

Amadej Mravlak

NIZOZEMSKI PAVILJON
Gerrit Rietveld

1953

NORTHERN LIGHT Herman Hertzberger

Common Ground is a space or place where people convene

and interact with one another in some way, either planned or
spontaneously, so that something shared arises or will arise. It
is all about spatial forms that are organized in such a way that
they provide opportunity and impulses for social contact. They
are spaces that enhance the chances of an encounter and work
as catalysts in terms of see-and-be-seen; they contribute to an
expression of what people have to do with one another. We
have previously referred to that as social space and regard it
as characteristic of the city: inviting and binding.
The Giardini form an island in the city where the beau monde
of the international world of art and architecture attempt to
impress one another with their biennial crop of art and architecture in their national pieds--terre set up as cultural country
homes. Within each bastion you feel yourself a guest on national soil, although only a few pavilions genuinely succeed
in expressing, by means of their spatial design, something of
the national character of the country they are representing. In
that respect, the pavilion that Gerrit Rietveld designed in 1953
is unmistakably Dutch, with characteristics of the Dutch mentality we are proud to share with the world, and of which, 60
years on, Rietveld still appears to be a marvelously good exponent. His light-footed and straightforward use of material,
composed to form a lucid and well-organized space without
needless trappings that evokes associations with sobriety
and propriety, harmonizes well with the image that the Netherlands attempts to radiate. The building conceals nothing,
reveals itself completely, opens itself entirely inward and outward. Inside, you enter the unmistakable northern air, where
the freshness and clarity of the minimalist Mondrian squares
originated, and which is invariably associated with polders,
dikes, and milk-white. The light is also northern, entering via
rising gable-fronted dormers, or rather roof compartments,
and acquiring its lucidity from its filtration through horizontal
ceiling louver components. But the most surprising element is
that the incidence of light changes throughout the day, due to
the fact that the roof compartments receive light from different directions, illuminating the various corners of the building
as the day wears on.
The pavilion actually consists of a single square space, comprehensible at a glance, articulated in four alcove-like bays that
correspond to the roof compartments and follow one another
in windmill-sail formation. Besides the storey-high glass fronts
between the bays, all the walls are available as exhibition
space; artists could wish for no more, at least at first sight.
The only slightly negative point is that the ceiling, in one sin-

gle surface, does not reflect the articulation of the floor plan. It
would have been more in line with the plan of lucid expression
if the bays that allow the incidence of light had remained spatially visible over their full height. After all, in Rietvelds work
in general, inside and outside are not separate worlds. On this
occasion, the interior does not provide what you read onand
therefore expect fromthe exterior.
Rietveld designed this pavilion as a small-scale museum, with
the apparent intention and anticipation of providing the best
conditions for the work that Dutch artists would display, in the
presumption that they would accept and appreciate the space
as it had been conceived with the intention to do full justice
to their work. But real-life practice decreed otherwise. Time
and again, people have been zealously engaged in transforming the building into a completely new space, an artwork in
itself, in order to make it a component of another idea. In this
process, the lucidity of the original design has been repeatedly
engulfed by a new identity. This being the case, it is one of the
buildings qualities that it has invariably lent itself to amendment back to its original state, although it is doubtful if Rietveld had foreseen such rigorous use of his concept. He could
only expect what he could imagine and probably could not anticipate that the space as a whole would increasingly become a
part of the world of ideas in which art and architecture would
participate, with the ultimate consequence being the possibility of a black box: optimally compliant and without the necessity of an architect who determines an identity. After all, the
identity of the building is consistently changing. You may also
wonder about the extent to which the Netherlands still has an
own national story to tell, like all those other countries with
their own pavilions, and whether or not that sense of nationality still signifies anything. But as common ground it remains
excellent accommodation in the open-air museum into which
the Giardini are transformed during the Biennial.
The pavilion that Rietveld contributed as a mini-colony of the
Netherlands to the international community of cultural pieds-terre continues to shine, independent of national intentions,
due to its whiteness and lucidity and as a legacy and memory
of an era in which architecture managed to exude optimism.
It is thus a distant scion of the internationally shared style of
white cube-like buildings.

SKANDINAVSKI PAVILJON
Sverre Fehn

1962

THE ART OF MEASURING

Arnfinn B-Rygg

Wir sind Pflanzen, diewir mgens uns gerne gestehen oder

nichtmit den Wurzeln aus der Erde steigen mssen, und im
ther blhen und Frchte tragen zu knnen.
We are like plants whichwhether we like to admit it to ourselves or notmust grow out of the earth from our roots in
order to bloom in the ether and to bear fruit. 1
I recalled these words from the German poet Johann Peter Hebel when, for the first time, I stepped into Sverre Fehns Nordic Pavilion. The three plane trees inside the 446-squaremetre
unsupported space are almost the only vertical elements. The
trees intensify, as do the large walls of glass, the impression of
being both inside and outside at the same time. In both realms,
nature and culture face each other. At a certain distance the
beams seem both to collide with and evade the trees. Outside,
to the left of the entrance, Fehn has kept the big old plane
tree where the enormous main beam divides into a Y. It is the
strongest gesture imaginable. The old trees 2 rise out of the
earth, stretching through the roof, up into the sky. Upon the
earth and under the sky we humans dwellwho Heidegger
calls the mortal ones. Heidegger often quotes Hlderlins
words that man dwells poetically upon the earth. 3
We dwell, not only by the writing of poetry, but equally well
by the constructions of buildings. Poetry, Heidegger says, is
what first brings man onto the earth, allows him to belong,
and thus embodies his dwelling. 4 Heidegger calls the space
between the earth and sky (or heaven) the dimension. All
forms of art and architecture are a means to measure this Between, the dimension. To dwell poetically, to create art, is to
take measure. Is there a measure on earth? Hlderlin asks. To
which he answers: There is None. 5 Maybe there was a measure in the pre-modern world, before what Fehn called the fall
of the horizon. But we moderns do not take our measure from
the earth, rather from the sky. It is not something that can be
pre-determined. Heidegger is far from associating our measure
to the familiar and safe, to what we can control. To measure the
dimension is then to dwell in the open, in what Hlderlin calls
the Unknown.
Sverre Fehns pavilion is an example of such an art of measurement. Fehn himself often used the expression poetic. By poetic in this broad sense, Fehn, I assume, was hinting at what he
once formulated thus: The architect is a poet who thinks and
speaks in the language of construction 6 Or, as he said about
his pavilion, that he was searching for simplicity and expressivity: To say much with a few artistic effectsas in a poem. 7 The
Norwegian dikte, as the German dichten (to write poetry)
for which there is no equivalent in Englishetymologically

derives from a word meaning inventing or creating, bringing

forth, embodying in a piece of work. With his 1962 pavilion,
Fehn has created a work that is both simple and complex.
To make a poem, to take a measure in this way, to scale the
dimension, still means designing a building that is essentially
right. Alberti defined beauty in that way: that the harmony of
all parts in relation to one another, and the parts in relation to
each other and the whole, must be so that nothing can either
be added or taken away, without ruining the whole. It has to
be right. In other words, the building must cry out: It could
not be otherwise. In this way, Fehns pavilion is surely classical.
But what is right in his pavilion is not the harmony between
parts or the proportions alone: What Fehn did was to scale the
materials, the space, the light, and the shadow to each other.
What we have called right, he also called perfection. For him,
the perfect was not an ideal, Platonic model. Rather, it is what
Baudelaire hinted at when he said that art is about extracting
the timeless from the fleeting, from our own historicity. The
classical in Fehns building is just as unexpected as it is inventive.
Fehns architecture is often described as poetic modernism.
That the pavilion is modernistic means, above all, that it is autonomous. But it does not stand there in splendid isolation. It
unites with the adjacent Danish and American Pavilions. A simple device allows the pavilion shell to interact with the Danish
and the American neo-classical neighbours. Thus Fehns pavilion also manifests the art of the location, conversing with the
trees and interrelating with nearby structures.
But the pavilion also speaks with its own voice, within and
without, in contrast to the chattering of much of postmodern
architecture. How does it speak? By combining the elements
to form something that goes beyond them all, by the force of
expression of such a robust structure. This is a modernistic imperative for all the arts: that expression and construction must
hold each other at bay. The French composer and conductor
Pierre Boulezs words about Paul Klee fit Fehns architecture
very well: [His] genius consists in taking, as a starting point,
very basic problematics and arriving at a remarkably strong
poetics, in which the problematics seem to have entirely disappeared. 8 For Klee and Boulezas for Fehnthe tree was
the model for this process, both in a literary and a metaphorical way: It starts with the trunk (not to mention the root) and
then ramifiesa ramification that can take on an infinity of
forms but nevertheless has to be strictly deduced without
compromises. Fehn believed of architecture that it works in a
timeless space. The utterance stems from a journey he made
in Morocco in 1952. 9 The mural architecture of the region re-

minded Fehn of Frank Lloyd Wright, Mies van der Rohe, and
Le Corbusier. It was not a question of repeating the past or
breaking away from it. Only by manifesting the Now can we
get the Past to speak. 10 This modernistic insight implies that
architecture is committed to its own time. Why? Because it is
only by accepting responsibility, being on terms with the present, that aspects of the past can be actualized, allowing us to
become alive to what went before. This does not mean that
what is being created should be timely. On the contrary, it can
be untimely in the Nietzschean sense, by opposing whatever
is dominant in the present, and instead doing whatever the
Now demands must be done. In this way Fehn spoke of architecture as returning the earth back to itself. 11 This sounds
Heideggerian: The work of architecture (and art in general) is to
let the earth be earth, not to violate it, but to allow the earths
materials to stand forth, to glitter, to be heavy, to be earthen.
For Fehn the world of architecture is our lifeworld, in the phenomenological sense. A world where the sun rises in the east
and sets in the west.
In this sense, Fehns relation to history is not monumental, as
is the case with many modernists: The great architects stand so
tall that they call out to each other over the eons of time. Fehns
attitude to history is far from being antiquarian (like parts of
the Cultural Heritage movement). It has more in common with
the third attitude to history that Nietzsche 12 describes, calling
it critical; it considers both the specific features of the location
and the cultural tradition in which it resides. Fehns architecture cannot be understood by tourists staring at monuments
(Walter Benjamin). Rather, it has to be walked in, on, around,
and through, not just once, but many times, with all our senses
alert. You converse with the material, Fehn says, through the
pores of your skin, your ears, and your eyes. Through the
sense of touch, you exchange heat, and the material gives an
immediate response. 13
Talking about the pavilion, Fehn recalls that the aim was to
capture the light of Italy and the Mediterranean in a Nordic
atmosphere. 14 He was fascinated by light and shade, holding that each material had its own special shadow. Outside the
pavilion, the shadows are classical, allowing the building to
assert a bodily presence. But Fehn describes Nordic architecture as shadowless. So, the light entering through the bold yet
simple roof construction is indirect and diffuse, ever-changing
during the day, but always caressing the works on show and
artefacts on display. The two levels of concrete roof beams,
running in two different directions, form a reference grid, just
6 cm thick and 1 m tall, which matches the angle of sunlight
falling on Venice in midsummer (64 degrees). The concrete
itself projects a subtle shine from filtered sunlight, appearing
delicate, almost like marble. The classical, uncluttered exhibition space beautifully sets off the exhibits in an atmosphere
that is reminiscent of Nordic light. Indeed, what better way to
display Nordic works of art, than under a Nordic light? In a final
gesture, Fehn has designed the wavy translucent roof panels to
collect the rain, to refresh and give nourishment to the plants
inside and outside the building.
Fehn continuously talked and wrote about his projects and
about architecture in general. He kept diary notes, sketch
books, wrote dialogues, including his Dialogues With Palladio,
gave speeches, commented on his own works, and made his
views known to colleagues. His thoughts connected with his
sketches and drawings and with the progress of his projects
allow us to see something more or something different, other
than what we first thought of. Conversely, by seeing, we can
also find new things that the words did not reveal. Because
what we see, sense, feel, hear, and what we say do not overlap each other completely. Thus something new and different
can appear. This is the more that architecture-as-art supplies,

which represents more than can be said by words alone. It is an

increase in being, to use Hans-Georg Gadamers term. It cannot simply be reduced to knowing by what and by whom Fehn
was influenced, or to what kind of -ism, movement, style, or era
his early works belongs to. As art, Fehns work is more than a
historical object. It has been said of Fehn that he often gave his
projects a name, a nickname. Such a proper name cannot be
grasped by identifying concepts. A nickname takes care of the
nonidentical of the object.
Fehns pavilion demands a lot of the exhibitions curator. But
when the exhibition succeeds, by which I mean that the exhibits attract admiration and attention, then Fehns space is pure
perfection. For it is a large, open space, uncluttered by clichs,
an undecorated stage, a huge dance floor on which exhibits
may perform their dance. It is not so much a room for communication, but of critique and allegory. In the same sense as
the gardens themselves, I Giardini, the room is not a topos, neither a utopia, but a heterotopia: another place for other things.
Fehns heterotopia is a part of our common ground.
1 M. Heidegger: Discourse on Thinking, J.M. Anderson & E.H.
Freund trad., New York 1975, p 47. Translation slightly modified
by A.B.-R.
2 The fact that the trees are plane trees (platans) has added significance histroically: Socrates talking with a youngster under
a plane tree, and for the ancient Persians the plane was a holy
tree (cf. Hndels opera Xerxes where the king in the opening
scene declares his love to a plane tree).
3 M. Heidegger: Poetry, Language, Thought, Albert Hofstadter
trans., New York etc. 1975, p 216. Translations from this edition
are slightly modified by A. B-R.
4 Op.cit. p 218.
5 Op.cit. p 220.
6 Reported by Juhani Pallasmma, in the Norwegian Arkitektur
N, 07/09, p. 100, a special number dedicated to the projects
and reflexions by Sverre Fehn.
7 Sverre Fehn interviewed by Morten Ryen, in pent rom. Et
blad fra Statsbygg, December 2002.
8 Pierre Boulez: Le pays fertile. Paul Klee, Paris 1998, p. 146.
9 Byggekunst 5/1952.
10 Byggekunst 2/1992.
11 See Has a Doll Life? Sverre Fehn in dialogue with Per Olaf
Fjeld, Perspecta 24 (1988), p. 48.
12 Friedrich Nietzsche: Untimely Meditations II, 3, Cambridge
1997.
13 Perspecta 24 (1988), p. 47.
14 In Christian Norberg-Schulz and Gennaro Postiglione ed.:
Sverre Fehn. Samlede arbeider, Oslo 1997, p 266.

FINSKI PAVILJON
Alvar Aalto

1956

AALTOS MAGIC LANTERN Juhani Pallasmaa

In comparison with the rather imposing structures around, the

Finland Pavilion at the Biennale Gardens in Venice, designed
by Alvar Aalto in 1955-56, looks like a joyful gazebo erected
momentarily for a garden party or wedding. The air of celebration is emphasized by the stabilizing white triangular supports,
which seem to turn the dark blue wooden walls into the nonstructural textile surfaces of a festival tent. The sign reading
Finlandia, originally hung next to the entrance door from two
sets of six suspended metal strings, adds another decorative
item suggestive of a garden party. At the same time that the
blue-white coloration echoes the colors of the Finnish flag, it
also contributes to the celebratory ambience. Regardless of its
architectural refinements, the pavilion also evokes vernacular
images, including fishermens traditional boathouses in the
Finnish archipelago.
Yet, upon deeper observation, the impression of a minute garden pavilion begins to turn into a more serious imagery suggestive of larger scale and permanent cultural use. Buildings of
exceptional quality usually appear smaller than they physically
are due to the density and richness of their mental imagery
and the wealth of associations they evoke. In fact, every significant building is a complete world, a unique and autonomous
artistic universe.
The pavilion begins to suggest a prototypical Aaltoesque art
museum in a scale that is several times larger than the actual
structure. The condensed building contains many of Aaltos favourite design features: a skewed plan shape, a low horizontal
volume with a skylight above (vaguely suggestive of the silhouette of a distant mountain range), and the welcoming entry space created by a gesture of the bent end-faade, similar
to the outstretched arms of a host. The three triangular supports, as well as the inclusion of a small courtyard at the back,
further suggest a larger scale, as if the pavilion were a miniature prototype of a full-scale museum.
The play with scale was a familiar idea for Aalto since the time
of his witty designs in the idiom of Nordic Classicism during
the 1920s. The ambition of the young architect was to turn his
home town of Jyvskyl in central Finland into the Florence
of the North through the use of a classical language; in 1924
he projected a tiny kiosk for selling books with a decorated
apse and Doric columns, a small gas station with acroteria,
and a fishery with pergolas and Doric colonnades. The foyer on
the second floor of the Workers Club in Jyvskyl (1925) is an
image of a Renaissance square with an imposingly decorated
semicircular faade protruding into this shrunken and interiorized urban space. Even his later masterpiece, the Syntsalo

Town Hall (1948 52), is a miniaturized image of a medieval hill

town.
Aaltos individual projects at various phases of his career tend
to be engaged in the distinct formal and structural themes
with which he was preoccupied at the time. The triangular
super-structure of the pavilion in laminated wood recalls his
slightly later competition scheme for Vogelweidplatz in Vienna (1952 53), a gigantic sports, meeting, and concert facility
based on a suspended cable structure; also the fan-shaped
floor plan can be found in both projects.
The wooden roof structure of the Venice pavilion echoes the
famous decorative roof construction of his Syntsalo Town
Hall. After his early applications of deep cylindrical skylights
in his library and museum designs, Aalto began to develop
countless variations of curved surfaces to cast reflected light
into the space, be it a library room or art gallery. If the butterfly-shaped roof trusses of the pavilion were closed by a ceiling
surface from below, the skylight would be identical with one of
his many reflector types developed for the somewhat later project of the Aalborg Art Museum (1958; 1966 72). In Venice, the
skewed plan shape and the reflector system give each interior
wall a relative independence and intimacy, instead of merely
being one of the four walls of a room. The viewer stands in the
shadow of the reflector structure as if underneath the canopy
of a large tree in a park, while the paintings occupy the higher
space of bright natural light.
Aalto had been deeply preoccupied with prefabricated wood
housing in the period after World War II. The Venice pavilion
continues these numerous projects; the wood structure was
designed to be easily built and dismantled using bolt connections. However, due to a mistake in fabrication, the prefabricated elements had to be fixed by nails, and, unintentionally, the
structure became technically permanent.
By the time Aalto was designing the Venice pavilion (which he
did at the request of Maire Gullichsen, his client, friend, and
collaborator in the Artek Furniture Shop), he was already a very
experienced exhibition designer. In fact, his early international
fame was largely grounded on his masterly exhibition designs
for the Turku 700th Anniversary Exhibition of 1929, the Finnish
Pavilion at the Paris International Exhibition of 1937, and the
Finnish Pavilion at the New York Worlds Fair of two years later.
He knew from personal experience that an exhibition structure
needs to create an evocative and memorable image. Indeed,
Aaltos condensed architectural miniature at the Biennale Gardens is a master architects Magic Lantern, a generator of unexpected images and associations.

VENEZUELSKI PAVILJON
Carlo Scarpa

1954

DAWN Henry Vicente

Grouped in various imaginable orders of succession and superposition, the pavilions that make up the Giardini of the Biennale of Venice surrender to the calmness and stillness that
dominate the passing of hours, before they give in to the deluded subrogation of stories that will announce the return of
the human avalanche, the awakening of life and the constant
struggle that all of a sudden will empower them to be part of
new tales. Going through the shaded paths that run among
the pavilions, the stereometric volumes of the Venezuelan Pavilion interpose themselves among the trees, announcing the
emergence of its frugal presence. The place is set in opposition
to that topographic entanglement that is embodied by Venice, and the pavilion unravels as an offering from the tropical
country to the unlikely city that gives rise to its toponymy;
namely, Venezuela means little Venice and shares with this
city the trait of being a country of labyrinths.
The presence of several trees, which encircle the scope of the
pavilion, leads an open way to it. The wooden access steps
rush forward beyond their limits, as if they were shoe tongues
ready to suction the passers-by and carry them into the platform made of concrete that acts as an anteroom to the pavilion. The long steps propose slowing down a fast pace and
adjusting the rhythm of motion to leave behind the everyday
world and enter the world that the pavilion offers: a promise
of the unexpected. An area covered by a reinforced concrete
slab announces the entrance threshold. The concrete slab,
marked with a striped and embossed drawing and supported
by six double metallic columns, articulates into a corner and
leads to a backyard where the light and the air reach beyond
the bounds of the enclosure that overlooks the lagoon. The
textures of the visible concrete wall combine respectfully with
the brick wall of the Swiss Pavilion and the polished wall that
shelters part of the backyard; this combination of textures exalts the notion of assembly and promotes the idea of establishment that regards the pavilion as a place of regular continuity. The water surface in the center of the backyard mirrors a
measured echo of the lagoon, and a rhombus stands out of the
square frame of this water surface, which generates a particular dynamic of displacement.
A lightweight roof of metallic structure and wood slats hangs
across the construction, exceeding its limitations to shape the
exit threshold: an artifact faceted by lattices. The longitudinal
shape of the roof almost floats, hanging on light metallic pillars
penetrating into the heart of the Venezuelan Pavilion linking
the two displaced parallelepipeds that articulate the composition of the volumes. A space of mediation between the inside and the outside, the lightweight roof transgresses its lim-

its, just as the majority of the components of the pavilion do,

displacing the preconceived mold of the elements. Within the
pavilion the return to the expressive power of construction and
materials, of sensitive emplacements and discrete shapes, are
traits of the identity of Carlo Scarpa, its architect.
As we walk into the building, the first exhibition room appears
before us and leads us to the fixed expository areas of the pavilion that vary in size and height but have the same horizontal
and vertical development and that were described by Scarpa
as a single vasta sala or vast exhibition room from which the
sky and surrounding nature would be visible. The deliberate
management of the space bursts here, fuelled by the exaltation
of the expressive value of the surfaces; glass strips that revolve,
strictly, to stop at the required distance for the eye to glimpse
the sky and the clouds. In a relaxed manner, the light turns dim
and carves a sphere of feints and delays, a hesitant gap that
paralyzes, approximates, and pursues because it reveals the vehement passion of the glass slits. The slow manner to approach
all the angles, to enter the cover of the displaced spaces or to
go almost tactilely through the different textures, forces us to
slow down our pace to try to reach out to the tectonic richness
of the pavilion: a kind of alternating movement of ceilings and
floors, of zigzag circulations, of juxtaposing surfaces, that leave
indelible marks in the warm smoothness of the interior, in the
meticulous and insatiable vanishing that the pavilion discloses.
In a series of relations the pavilion shows the constructive logic of the architecture and the ability of the buildings to alter
our perception of a location. On the basis of a synthesis of
elements, the pavilion invites us to contemplation. The limitations of the program surprise us by manifesting an expressive
universe anchored in the containment. The spatial relation
and the luminosity of the three interior halls are privileged.
The fragmentation articulates without omitting the balance
between horizontality and verticality. Swinging between isolation and simultaneity, the elements that compose the celestial
speech that is given in the vast exhibition room are tied together but recover immediately its lost uniqueness transgressing the mere juxtaposition. The difference of height between
two smaller exhibition rooms softens the leaving of the circuit
and the return to the Giardini, which have been abandoned for
a while. The double perspectivethe narrowness of the fixed
place, indoors; the possibility of the moving, outdoors, which
questions the closureinaugurates the bustle that frames the
mobile fiction of the pavilion.
The value of a work of art lies in its expression; the pavilion of
Venezuela places us before architectonic instances that try to
go beyond mediation. Scarpas fixation on unchangeable com-

ponents of the architecturehighlighted in a particular mannermakes us perceive the door, the window, the ceiling, etc.,
as elements that, though extremely familiar, would be shown
from the irreducible singularity of its design. Lurking for details,
the mechanic effect taken as poetic, the predominant tectonics, and the plastic quality of the metallic binary pillars make us
perceive the pavilion as an artifact in which its architect sides
with the objects, in which the precise contemplation of the inanimate objects prevails over a mediated condition.
Thus, the building locates us in the middle of the surrounding
area of the objects, brings us closer to the essential nature of
the materials, to the telluric condition of the concrete and to
the lightness of the covers shrouded in air alternating their permanent characterization. A pavilion of dramatic presences; a
pavilion of immediate means.
In this respect, the Venezuelan Pavilion shows itself as a dawn,
not only because the building represents the first approach to
establish Scarpas architecture, the beginning of his synthetic
expansion toward a singular manner of understanding and
proposing the space, from the presentation of the idea itself
to the physical materialization of the projected space, but also
because of having the visionfrom diverse perspectivesof
coming across with a Venetian light that starts to get dimmed
from the moment that we abandon the everyday world that
has led us to this pavilion and as we walk through the entrance
threshold; a Venetian light that reappears shining on the water surface of the backyard, that gets shadowed as we walk
through the lightweight roof but that flickers as we enter the
exhibition area until it manifests itself sparkling through the
slits of glass that lead the way from the outside to the Scarpian
vast exhibition room; viewed in that light, the boundaries of
the building surrender to the brightness of a splendid dawn.

KNJINI PAVILJON
James Stirling

1991

CHANGING IMAGES Martin Steinmann

To speak of the book pavilion is first to evoke things past,

namely the two rows of trees between which the architectural
office of Stirling Wilford & Associates situated their building in
1991. With the exception of two or three, these trees have since
disappeared, and the book pavilion now stands on a surface
sparsely covered with grass. The park has undoubtedly been
neglected. Even more than for other buildings in the Giardini,
earlier visits to the pavilion need to be brought to mind to regain the meaning of this poetic design.
Even before the visitor takes the path to the biennial pavilion
with its massive white pillars, a building appears on the right,
set back behind bushes. This is somewhat unsettling given
how its faade asserts a striking axis with the facing entrance
to the Giardini. A short white tower with a grating above the
door stands on a semicircular platform tiled with cement. However, the iron I-beam puncturing this grating and extending far
outward disrupts my initial associations with a northern village
church. Instead it brings other, industrial images to bear, or at
least it is reminiscent of a goods lift. In effect, the beam serves
to hoist the necessary machinery for the pavilions air-conditioning to the room above the door.
A further element on the tower comes into view between the
trees and evokes a third association: The large yellow pipe
brings to mind the chimney on one of the ships that ferried us
to the Giardini. While initially painted white, it is now a color
frequently found in Venice. The red E for Electa remains. The
colored beam of a laser points to the night sky, or at least it
used to. Even on its first appearance, the pavilion evokes contradictory and commingling images that resist coming togeth
er to a single meaning. From its symbolic faade the pavilion

Jure Ule

extends back beneath a steeply inclined roof topped with a

lantern. Gaps in the surrounding wooden deck still indicate
where the trees used to stand and how accurately the pavilion
was located between them. The green copper roof overhangs
the windows that wrap around the long, narrow room like a
ribbon. Fine ribs structure the wide roof and secure the copper sheets. Its color conjures up the kind of Chinese pavilions
sometimes found in an 18th-century parkhowever, there is
no gold. The cement balustrade, painted grey along the bottom part and white along the top, makes the pavilion look like
a Vaporetto.
This image is accentuated in the rounded ends of the room and
the roof, which reaches far out across the wooden deck raised
three stone steps above the sand and grass. Once again the
Vaporetto is not the only image to come to mind. The building also recalls a kiosk with opened shutters, as can be found
in urban parks, in Paris for example. Here there are no doors,
however. The room, 30m long and 6m wide, is self-contained.
A heavy, deep-set bookshelf, 1.10m tall, runs the length of
the windows and along the rounded end, giving the visitors
a sense of security. The shelf is made of lacquered wood and
evokes the ideathis same image againof being on an elegant wooden boat tied not to the posts lining the canals of
Venice but to the trees.
The trees, visible only as trunks beneath the overhanging roof,
follow the outer boundary of the glass-walled room and protect it. This is significant, as the book pavilion is the only building not to withdraw into itself for exhibitions. Quite the contrary. The books and catalogs on the shelves form the raison
dtre of this small pavilion, referring beyond itself and to the
exhibitions in the biennales national pavilions.
The two-storyed frames that bear the wide board-clad roof
place this idea of being on a boat in question. They are more
akin to a hall in which people are at work. The ventilation system that runs along the upper section underscores this technical image further. And we again think of the I-beam above the
door. The frames leave no doubt as to how the pavilion was
built. They draw the buildings section in the air and are, as it
were, both the construction and, in a tectonic sense, the image of this construction. But this is only partly the case, as the
construction of the roof, made of horizontal conduits, remains
hidden from sight beneath the cladding. This underscores all
the more the symbolic quality of the simple frames made from
joined I-profile beams. Despite the serene atmosphere the
boards produce, it is a pity that the roof construction is hidden from view, given its greatand also intellectualbeauty.

At least the booklet documenting the pavilions erection with

plans and photographs gives plenty of space to its technical
aspects.
The idea of a boat guided the architects in their design, as the
many drawings outlining the design process indicate. The lantern that provides daylight to the space below looks in many of
these drawings like the bridge of a ship. The design for the pavilions entrance was especially problematic for the architects.
The described tower appears only late in the designing process
and disrupts the sought-after image by introducing other associations. It is not the only place where this happens. Thus, the
color of the roof has also given rise to the image of huts, the
kind found in the lagoons covered with reeds.
However, the invoked images are dependent on the individual
observer and his biography by inscribing what he sees in his experiences. A decisive factor in the pavilion is the fact that these
images dont snap into a single meaning. For this they are too
different. The forms that evoke these images are too greatly indebted to a postmodern architecture, which seeks to prevent
any such meaning from emerging. This difficult whole is the
mark of Stirling Wilford & Associates, and they achieve this in
their best works, in which the forms do not need to be placed
in inverted commas, like quotes one is supposed to recognize.
They are forms that belong to everyones experience. This allows the architect to manipulate them, to merge them into a
unified whole but without the different meanings included in
the design coinciding in a single meaning. As I say, it is a difficult whole. This is demonstrated in the Giardinis book pavilion:
It lives from the resistance the forms exert against their semantic unification. In this it is not unlike Wittgensteins ambiguous
duck/rabbit figure, with first one and then the other aspect
foregrounded.
One final point: The forms evoke not so much meaning as atmosphere. The pavilion does not resemble a Vaporetto but
conjures a Venetian sensation; nor is it merely a kiosk but recalls the sensation of hours once spent in a park, to mention
but two images. This is why the book pavilion is one of Stirling
Wilford & Associates best works. Or at least one of the works
that means the most to me.

IL REDENTORE
Andrea Palladio

1592

From the distance, the temple front facade stands as the

front layer, the second layer are the roofs of the nave and the
highest and the farthest layer is the dome. As one approaches
on axis, the building massing disappears and the white stone
facade dominates.
The light is different in each of the three major spaces. It
changes from diffuse to strong light.

pela tremfelj

CERKEV SAN GIORGIO MAGGIORE

Andrea Palladio
1565-1610

Cerkev San Giorgio Maggiorese se nahaja na otoku Maggiorese

na jugu Benetk v severni Italiji. Palladio je nadomestno cerkev
prejne gotske cerkve zael graditi 1565. V projekt je vkljuil
tudi obnovo in raziritev obstojeega samostana.

Tanja Kouh

PONTE DI RIALTO
Andrea Palladio

1588

Ponte di Rialto je najstareji in najslavneji most na Velikem

kanalu. Most je bil skoraj tri stoletja edina monost za prekanje kanala pe.
Ta most je zamenjal tri mostove, ki so bili zgrajeni na isti lokaciji. Tudi ta je bil sprva lesen, leta 1588 pa se je zaela prenova.
Ponte di Rialto je leta 1591 dobil takno podobo, ki jo ima e
danes.
Ker se pod mostom vozijo ladjice, je lok viji kot pri ostalih
mostovih - kar 7.5m. Konstrukcija je podprta z 12.000 lesenimi
piloti.

Petra Colari

SANTA MARIA DELLA SALUTE

Baldasare Longhena
1687

Bazilika Santa Maria della Salute se nahaja na ozkem polotoku,

ki deli bazen Sv. Marka na dva manja kanala - Canale Grande
ter Canale Giudecca. Osemkotna zasnova barone bazilike,
s centralno ladjo, ki je bila novost za to obdobje, stoji na ve
kot sto tiso pilotih in je zgrajena iz istrskega belega marmorja
in marmorina (opeke prevleene z marmornim prahom). Marmorne spirale oziroma volute ob kupoli prevzemajo velik del
razporne sile kupole in veljajo za revolucionarno tehniko, ki do
takrat e ni bila uporabljena. Kljub temu, da je zunanjost tipina barona, se v notranjosti pojavljajo bizantinski elementi. Pri
zasnovi se vidi velik vpliv Palladijevega klasicizma.

Andra Hrovat

DOGANA DA MAR
Restavriral : Tadao Ando

L. nastanka: 1682

L. restavriranja: 2009

Punta della Dogana je muzej umetnosti v trikotnem obmoju

Benetk kjer se sreata Canal Grande in Canal Giudecca. Stavbo
je restavriral Tadao Ando leta 2009. Stavba ima enostavno in
racionalno strukturo. Volumen ustvari trikotnik, ki je neposredna referenca oblike konca otoka Dorsoduro, interier pa tvorita dva dolga tirikotnika, ki sta razdeljena z serijo vzporednih
sten.

Sergije Lugovski

SPOMENIK COLLEONIJU
Andrea del Verrocchio
1488

Bartolomeo Colleoni (1400 1476) je bil italijanski general (kasneje dosmrtni kapitan general beneke vojske), ki je
sluil Benetkam v njihovem boju proti Milanu in je ob svoji
smrti Benetkam zapustil veliko vsoto denarja za Turko vojno s
pronjo, da se mu v spomin postavi jahalni kip na trgu sv. Marka. Kip je oblikoval Andrea del Verrocchio, odlil pa ga je Alessandro Leopardi v bronu po njegovi smrti. Ker noben spomenik ni bil dovoljen na trgu sv. Marka, je bil kip postavljen na
trgu sv. Janeza in Pavla, prav tako pa kip ni portret Bartolomea
Colleonija, ampak je le predstava monega in neusmiljenega
vojakega poveljnika, ki poka od titanske moi in energije, kar
je v nasprotju z Donatellovim kipom generala Gattamelate v
Padovi, kateri odraa mirno povelje. Verrocchio je pri tem kipu
ves trud posvetil upodobitvi gibanja in smislu napora ter energije.

Vesna Perovnik

OBJEKTI OKOLI TRGA SV. MARKA

zaetki gradnje trga

800 - 1100

Trg Sv. Marka je glavni beneki trg. Splono je trg znan kot
Piazza (trg), vsi ostali trgi v Benetkah pa so znani kot campi
(polja). Piazzetta je podaljek trga v JV smeri proti morju. Oba
Piazza in Piazzetta tvorita socialno, versko in politino sredie
Benetk.

Bazilika Sv. Marka

Bazilika je glavna beneka katedrala in najbolji primer bizantinske arhitekture. Zgrajena je bila, da bi varovala posmrtne
ostanke zaitnika benetk Sv. Marka, katerega sarkofag so
Beneani l.828 pretihotapili iz grobnice v Aleksandriji. Zaetki
gradnje segajo v leto 832 pa vse do 19. st. Povezana je z doevo
palao, saj je v preteklosti sluila kot doeva osebna kapela. Od
leta 1807 je sede beneke partriarhije. Nadimek Chiesa dOro
je dobila v 11. st., saj je veji del notranjosti okraen z zlatom.

Doeva palaa

It. Palazzo Ducale di Venezia je tipina gotska palaa v Benetkah. V njej je prebival beneki do (vojvoda). Dananja stavba
je bila zgrajena med 1309 in 1424, delo arhitekta F. Calendario.
Glavni vhod, Porta della carta, sta v poznem gotskem stilu leta
1442 dogradila brata G. in B. Don. Najstareji del palae je fasada, ki gleda na morje.

Zvonik

It. Campanile San Marco je najvija stavba v mestu. S svojimi

98,60m je statusni simbol mesta. Zgrajen v 11. stoletju, vendar
se je pod svojo teo zruil l.1902. Na njenem mestu so deset
let kasneje zgradili kopijo. Stari zapisi pravijo, da so ga zaeli
graditi l.912, na praznik svetega Marka. Sprva je to bil zvonik
za baziliko in ker je njegov vrh bil obloen z bronom, da bi ez
dan lovil sonne arke, je ta deloval kot svetilnik za pristanie
pod njim.

Lea Dena

Knjinica

It. Libreria Marciana je bila zgrajena med 1537 ter 1588, delo
arhitekta Jacopa Sansovina. Osnovni namen stavbe je zahvala
kardinalu Bessarione za stare rokopise, katere je podaril republiki leta 1468. Danes je v stavbi narodna knjinica Marciana z
okoli 750.000 knjig. Velik zagon za gradnjo knjinice so v mestu
dobili, ko je kardinal Bessarione leta 1468 podaril Republiki
svoj zaklad: kolekcijo 750 klasinih rokopisov. Zapuina oz
zbirke so sprva hranili v baziliki Sv. Marka ter kasneje v doevi
palai in nazadnje v novi knjinici. Arhitektura stavbe je izkljuno benekega in renesannega stila. Beneani vedo, da je
notranja dvorana najlepa soba v Benetkah, saj na stenah visijo
bogate zbirke velikih slikarjev.

Stolp z uro

It. Torre dorologio je bil zgrajen med leti 1496 in 1499, delo
arhitekta Mauro Coducci. Osnovna zanimivost je, da je glavni
del razdeljen na 24 delov, namesto na 12. Nad odru se nahaja
balkon med katerimi se v rimskih tevilkah kae toen as.

Stare prokuracije

It. Procuratie vecchie so bile zgrajene v 12. stoletju kot dvonadstropna stavba. V stavbi so bile pisarne za prokuratorje Beneke
republike. V 16. stoletju so bile uniene v poaru ter obnovljene
kot tronadstropna stavba. Stare prokuracije je obnovil arhitekt
Condussi ter pustil rahle gotske znailnosti.

Nove prokuracije

It. Procuratie nuove je zael graditi arhitekt Scamozzi, konal

Sansovino v klasinem stilu. Nove prokuracije so imele (za razliko od starih) poleg pisarn tudi ogrevana stanovanja, kar dokazujejo dimniki na vrhu stavbe. Po propadu Benetk je Napoleon
v stavbi uredil pisarne za svoj imperij.

Doeva palaa

Lei nasproti bazilike Sv. Marka in je najmlaja stavba na trgu.

Je stavba, ki si jo je Napoleon postavil ob prevzemu oblasti.

TRONCHETTO
Vittorio Gregotti

1960

Tronchetto, znan tudi kot Isola nuova - kar pomeni Novi otok,
je umeten otok v Beneki laguni. Nahaja se na najzahodneji
toki mesta in v neposredni bliini cestne povezave s celino.
Narejen je bil v 60tih letih prejnjega stoletja in slui kot stiie
prometnih povezav: parkirie, avtobusna in eleznika postaja
ter vodne povezave. Tukaj najdemo tudi center za turistine
informacije. Odprt je 24/7 in ima prostora za skoraj 4000 avtomobilov.

Rok Lovin

QUARTIERE RESIDENZIALE
Vittorio Gregotti
1981

Stanovanjska etrt arhitekta Vittoria Gregottija se nahaja na

severnem delu Benetk v zahodnem Cannaregiu. Gre za 6 objektov socialnih stanovanj, skupno 192 bivalnih enot, ki se nahajajo na obmoju nekdanje tovarne Saffa. Zasnovana je bila
med leti 1981 do 1985 kot gosta urbana struktura s tradicionalnimi benekimi elementi; npr. tradicionlna lesena beneka
sonna terasa Altana, materiali, barva fasade...
Velik pomen dajejo tudi tevilni odprti prostori, vsaka ulica je
razlina glede velikosti, prisotnost ali odsotnost dreves in zelenih povrin.

Rok Lovin

10

STANOVANJSKA ZAZIDAVA NA GIUDECCI

Gino Valle
1986

Zazidava je organizirana v tri sklope: ob dveh kanalih se nizajo

tirje viji stolpii, v srediu se stavbno tkivo razgradi in nia
iz tirih na dve nadstropji, zakljui pa se z nizom dvonadstropnih hi ob novem kanalu, ki tvori mejo med novo zazidavo in
junim delom otoka, v katerem e vedno poteka proizvodnja.
Zasnova kompleksa temelji na spotljivi interpretaciji konteksta - ohranjanju Calle dei Lavranieri, ki poteka ez otok in skozi
obstojei vrt do stare cementarne in pa kompaktni tipologoji
z zazidavo v prenih trakovih, ki se odziva na obstojeo smer
zidave, ki je prisotna na celotnem otoku.

Katarina ak

11

CA FOSCARI
Carlo Scarpa

1935 - 1956

Stavba zgrajena leta 1453, je trenutno sede Univerze v Benetkah. Carlo Scarpa je bil lete 1935 izbran za obnovo dveh
dvoran. K obnovi je bil nato povabljen e leta 1956, ko je veliko
dvorano preuredil v uilnico. Naredil je pregrado med hodnikom in uilnico, uporabil pa je razline vrste lesa, enjo, oreh
in bukev. Del je bil unien v poaru, po Scarpovi zasnovi pa jo
je obnovil arhitekt Valeriano Pastor.

an Menegatti

12

FONDAZIONE QUERINI STAMPAGLIA

Carlo Scarpa

1949

Kje je nenazadnje prizemlje, kje je terra firma? Teko je rei.

Namesto tega je tukaj udna senzacija lebdenja med vodo in
nebom, medtem ko zemlja lei nekje vmes. -M. Cadwell
Scarpova Querini Stampalia Foundation opominja, da je
sposobnost arhitekturnega dela poosebljati dane kvalitete
preko posrednega dialoga med delom in obiskovalcem.
Prvotno je bila v 16. stoletju zgrajena druinska palaa v
Benetkah, ki je bila kasneje preoblikovana v fundacijo za
razvijanje tudija uporabnih umetnosti in tujega znanja.
Po seriji tevilnih poplav v zgodnjih 90. letih je bil Scarpa izbran
za prenovo pritlija palae, da bi se izognili nadaljnjim poplavam.
Posebnost Scarpovega dela je poudarjena neustaljenost
vode, ki je kot medij ulovljena med trdnostjo zemlje in
nepredvidljivostjo neba. Znailnost celotnih Benetk je
neposredna povezanost in odvisnost mesta od vode in
prav to dvomljivost je Scarpa tako mojstrsko poudaril z detalji, ki nas vznemirijo in nas pustijo radovedne.

Lara Baler

13

OLIVETTI
Carlo Scarpa

1957

Podjetje Olivetti je bilo proizvajalec pisarnikih strojev in poskusni izdelovalec raunalnikov v zgodnjih petdesetih letih.
Olivetti je dobremu dizajnu posvealo veliko pozornost, kar
lahko opazimo pri prenovi temne aleje na severnem delu Markovoga trga v prodajalni pisarnikih stojev Olivetti, ki je e sam
po sebi postal muzej arhitektovega oblikovanja.

Moan poudarek prostoru dajejo posebej oblikovane marmorne stopnice, ki obiskovalca vodijo v zgornjo etao z balkoni. Delujejo povsem breztenostno in dopuajo poglede
skozi prostor.
Arhitekt je posebno pozornost namenil detajlom in materialom kot so mozaik na tleh, lesene mree ki kontrolirajo koliino
vpadle svetlobe v zgornji etai ter velike steklene povrine ob
vhodu, ki zagotavljajo svetlobo globoko v notranjost prostora.
Skulptura Nudo al Sole ob vhodu v galerijo je delo Alberta
Vianija.

Lara Baler

14

UNIVERSIT IUAV DI VENEZIA

Carlo Scarpa

1985

Samostanski kompleks Torentini, ki se nahaja v bliini Piazzale

Roma, je v 16. stoletju oblikoval Vincenzo Scamozzi. Objekt je
precej znan po svojih znailnih arhitekturnih elementih. Samostan, ki ga je leta 1810 zaprl Napoleon, se od takrat naprej uporablja za razline namene.
Leta 1958 je Urad za dravno lastnino stavbni kompleks
ponudil na voljo IUAV (Fakulteti za arhitekturo, oblikovanje in
umetnost). Beneka Univerza je takoj sproila prva obnovitvena dela. Restavratorski postopki v notranjosti so potekali med
letoma 1960 in 1965 pod vodstvom arhitektov Daniela Calabia in Guida Baccia. Glavni vhod, ki danes oznauje eno izmed
prvih arhitekturnih ol v Italiji je bil konan leta 1985 po nartih
Carla Scarpe.

Nua Zupanc in Tjaa Varnik

Ozek prostor je z razlinimi viinami, poglobitvami in stopnicami spremenil v prostor, ki daje obutek, da je veji, kot je v
resnici.
Kontrast med zgodovino in novo namembnostjo prostora
je poudaril z izbiro materialov. Poleg betona se pojavijo stari
portali, kamnito okrasje iz samostana ... Ki jim je dodelil nov
namen. Poruen portal vrat je pustil leati v prvotnem poloaju
in okoli njega snoval ostale ideje. Portal je izkoristil kot okvir
za ribnik. Uporabil je tudi obstojee tlakovce, ki so tlakovali trg
pred samostanom.
Napu oz. monumentalen vhod je v svoji namembnosti velik zbiralnik vode, ki nato polzi po klaninah ter zaliva
drevesa in zelenico. Na enak nain se polnijo tudi ribniki.

15

LA PARTIGIANA
Carlo Scarpa

1968

V letu 1968 je Scarpa oblikoval podstavek za skulpturo Augusta Murerja, La Partigiana. Skulptura predstavlja leeo ensko
z zvezanimi rokami in je postavljena na podstavku, ki plava na
vodi. Podlaga je narejena iz betona z bakrenimi ploami, obdana z neenakomerno razporejenimi betonskimi in kamnitimi
prizmami razlinih viin.

Ines Galun

16

FONDAZIONE MASIERI
Carlo Scarpa

1973-1983

Za projekt, zatoie za akademike in tudente arhitekture v

Benetkah, je bil najprej zadolen Frank Lloyd Wright.
Nartoval je izgradnjo nove stavbe, vendar zaradi neizpolnjevanja doloenih zahtev, gradnja ni bila odobrena. Projekt je
nato nadaljeval Carlo Scarpa, ki pa je moral ohraniti fasado prvotnega objekta.
Stavba stoji na trikotni parceli, s pogledom na Canal Grande.

an Menegatti

17

RAZIRITEV POKOPALIA SAN MICHELE

David Chipperfield

2013

Glavno beneko pokopalie, San Michele, se nahaja na otoku

med Benetkami in Muranom. Projekt raziritve bo zgrjen v veih fazah. Obstojee obmoje grobov je v prvi fazi dopolnjeno
s serijo novih dvori in kapel. Prvo dvorie je sluilo kot prototip za prihodnja, odprli so ga e leta 2007. Imenuje se dvorie tirih evangelistov - stene in tla so prekrita z bazaltom in
vklesanim besedilom iz spevov tirih evangelijev. V drugi fazi
je nartovana formacija novega otoka, vzporednega z obstojeim pokopaliem. Na njem se bodo nahajale grobnice v obliki preprostih kvadrov in vrtovi na nivoju vode. V nasprotju s
preostankom otoka San Michele, ki lei vije nad nivojem vode
in ga obkroa zid, bo novi otok skual ustvariti bolj odprt, dostopen spomenik, ki bo nudil monjeo izkunjo kraja in konteksta lagune.

Katarina ak

Nuovo Ospedale
Le Corbusier
[D. Chipperfield]
SAN MICHELE

Tronchetto
E. Ravnikar
V. Gregotti
TRONCHETTO

17

V. Gregotti
CANNAREGIO

[B. Podrecca]
Ca Pesaro

Piazzale
ROMA

14

[C. Scarpa]
IUAV

11

[A. Palladio]
PONTE DI RIALTO
A. DA PONTE

16

[C. Scarpa]
CA FOSCARI

[OMA]
Fondaco dei Tedeschi

12

[C. Scarpa]
F. MASIERI

13

F. Masieri
F. L. Wright

A. del Verrochia
SPOMENIK COLLEONIJU

[C. Scarpa]
F. Q. STAMPALIA

Palazzo dei Congressi

L. Kahn

[C. Scarpa]
OLIVETTI
Piazza
SAN MARCO

[C. Scarpa]
F. Lettere e Filosofia

AWA
Hostel

LA BIENNALE
ARSENALE

[C. Scarpa]
Gallerie dellAccademia
B. Longhena
S. M. DELLA SALUTE

45

[T. Ando]
LA DOGANA

I. Gardella
Cassa alle Zattere

10

G. Valle
GUIDECCA

A. Palladio
LE ZITELLE
L. Parenti
Cino Zuchi
B. Podrecca
HOUSING G. BELLAVITIS

A. Palladio
IL REDENTORE

A. Palladio
SAN GIORGIO

15

C. Scarpa
LA PARTIGIANA

Palazzo dei Congressi

L. Kahn
LA BIENNALE
GIARDINI