Venice is a city by the slow movement: the rhythm is given by the passage of people and the constant lapping of the boats. The urban structure is peculiar: islands and channels draw alternative routes for walkers and sailors. They interfere and become obstacles to each other. Only in some places these paths cross, intersect or bypass through structures such as bridges (sometimes movable), piers, rafts and transportation means such as vaporetti, ferries (traghetti), gondolas. The main routes, sometimes congested, are practicable thanks to the presence, sometimes ephemeral, of these “transpositions”.
Starting from an analysis of daily and seasonal flows and from a study of fluxes linked to specific cultural events in Venice, the workshop proposes to develop temporary and floating structures that can facilitate the mobility and the city use. The aim is to open new paths for a better distribution of periodic flows and encourage the discovery of urban areas less frequented and less subjected to seasonal changes of use.
The new structures for the city are therefore modular, transportable, floating and ephemeral: bridge buildings, building bridges, mobile and floating bridges, piers, rafts, barges and public facilities that facilitate the discovery of the city and the addition of new activities and routes.
The new artifacts are thought to be produced industrially, out of town and then transported by water or air in selected areas where they become easily identifiable visual references in the new urban landscape. Ephemeral architectures, floating, movable and visual transpositions for the city.
The modern beauty is ephemeral and eternal at the same time. According to Baudelaire’s “Modern beauty is not necessarily the image of the immortal who had dreamed of Platonic idealism, but a shadowy figure who is both inside and outside of time, a mixture of contingency and necessity, transient and of unalterable of time and eternity […]. All beauties contain, like all possible phenomena, something eternal and something transitory – of absolute and specific “(Salon de 1846, 1846). And again: “modernity is the transitory, the fugitive, the contingent, the half of art whose other half is the eternal and immutable” (The Painter of Modern Life, 1863).