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An-Other Sky


Museo Correr
Piazza San Marco, 52
30124 Venezia, Italy
041 240 5211

A aerian cape spreads over the Campo, it captures and filters the commotion. An architecture almost immaterial floats within the trees. Its fragmented rays of light and broken geometries flow under silent waves, and then return outside, the sky of Tiepolo.

A Living Venice, or a Lively Venice? Neither Venice-as-Museum, nor Disney-Venice, but Venice open to its future by being grounded in its history. Not an opposition between historic legacy and new creation, but projecting continuity through the act of invention. Not an opposition between built and immaterial architecture, but a union that will lead to new spatialities. Not an opposition between neighborhood communities and cosmopolitan multiplicity, but their coexistance in the city’s public spaces.
Not objects designed to occupy empty space or fill-in between blocks, but a discreet device capable of creating an atmosphere’, a substantial space, an urban landscape in movement. “Landscape is made from that which escapes, all landscape is scapeland. The landscape could radiate from anywhere, from any object, to emanate as pulsations.” Jean François Lyotard

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Using current technologies, the project is constructed around a device that is capable of producing sensations like those experienced by Tiepolo’s frescos at the Scoula dei Carmini, or his skies painted in the Church of Saint Pantalon.
Painted ceilings and built form join painted columns, cornishes and arches to create a continuity between painted and built architecture, between the artifice and the real, without distinguishing between their respective limits
The project’s device fuses the leaves and the branches of the Campo’s trees with the clouds in the sky, filtering the light from above and masking the noise from below. Rather than an artificial ceiling, the new device becomes an artificial sky, sometimes reflecting, other times sheltering, sometimes producing and other times filtering the images and sounds from above and below.

Neither built object, nor ephemeral architecture, the device will be transformed by the weather, the time of day and the climateas the seasons change. In the tradition of Venice’s Arsenal, new media will become the techné that merges the fluidity of the phusis in urban space.
An architecture between the material and the immaterial permits a surface of light or a line of force to become its essence.
Its function is not to define an abstract volume, but rather the reduction of a spatial dimension, a concentration of energy. The surface-envelope, as well as the line of force from which it emanates, is not to delimit space or contain a void: it envelopes itself so as to project others.

“In fact, the contour line should surround itself and terminate in a way that reveals its other qualities and even show what its hiding.” Pline, Histoire Naturelle, XXXV.



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