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a vivere a Venezia

Bentornati college 02.jpg


Non mi piacerebbe vivere in Nord America, però a volte si

Non mi piacerebbe vivere all’aperto, però a volte si

Mi piacerebbe vivere a Parigi, però a volte no

George Perec


Una forte immaginazione genera l’accadimento

Michel de Montaigne


Mentre l’orologio di Venessian.comdichiara “52.715 abitanti oggi a Venezia”, ci troviamo quì a ripensare se vivere in paradiso debba essere così fastidioso o, detto in un altro modo, se questo paradiso può essere sostenibile senza abitanti propri.


Possiamo immaginare, come la manciata di sabbia con cui Borges trasformava il Sahara, che un nostro intervento sull’area del ex Umberto 1 inverta l’andamento da emigrazione a uno d’immigrazioni a Venezia? Un “bentornati” in vece di un “arrivederci”?


Rispondere a questa domanda è la sfida del nostro incontro. Immaginare alternative per decodificare i segnali della società contemporanea: invecchiamento, solitudine, nomadismo e alti costi della residenza tra l’altro.


Il nostro obbiettivo sarà ripensare l’ habitat collettivo, armonico e sostenibile, per trasformare l’area in un chiaro segnale di “Bentornati!”. 


I wouldn’t like to live in America but sometimes I would

I wouldn’t like to live in the open air but sometimes I would
I love living in Paris but sometimes I don’t

Georges Perec


A strong imagination creates the event

Michel de Montaigne



While the countdown on the website accuses “52.715 abitanti oggi a Venezia”, we are here to reconsider whether living in paradise should cost so much or not, or put it in another way, whether the paradise would be sustainable without its own inhabitants. 


Can we imagine that with the same handful of sand with which Borges modified the Sahara, our action over the area exUmberto 1 changes the trend from emigration to one of immigration-friendly in Venice?


The challenge of our workshop consists in answering this question, to imagine an alternative that decodes the signals that the contemporary society sends: greater life expectancy, later emancipation of young adults, urban solitude, nomadism and real-estate costs out of reach. 


The focus will be on rethinking the collective, harmonious and sustainable living that transforms the area into the beginning of a welcome back. 


No me gustaría vivir en Norteamérica pero a veces sí

No me gustaría vivir al aire libre pero a veces sí

Me gustaría vivir en Paris pero a veces no

George Perec


Una fuerte imaginación genera el acontecimiento

Michel de Montaigne



Mientras el countdown de la página acusa “52.715 abitanti oggi a Venezia”, estamos aquí para replantearnos si vivir en el paraíso debe costar tanto o, dicho de otra manera, si el paraíso sería sostenible sin habitantes propios.


¿Podemos imaginar que como el puñado de arena con que Borges modificaba el Sahara, nuestra acción sobre el área exUmberto 1, revierta la tendencia de emigrationa una de inmigration-friendly para Venecia.


En contestar esta pregunta radica el desafío de nuestro Taller, imaginar una alternativa que decodifique las señales que envía la sociedad contemporánea: mayor expectativa de vida, emancipación tardía de lo jóvenes, soledad urbana, nomadismo y costos inmobiliarios inalcanzables. 


El punto focal estará puesto en un replanteo del habitar colectivo, armónico y sostenible, que transforme el área en el inicio de un welcome back. 


 Ex Umberto I

atlas wave.jpg

45.448561, 12.325736


Centro Storico

Valorizzazione storico–culturale, Forme dell’abitare collettivo, Riqualificazione e rifunzionalizzazione, Inclusione e accessibilità


Il complesso dell’ex Ospedale Pediatrico Umberto I si trova nel sestiere di Cannaregio, sull’estremità nord del Centro Storico, e comprende un gruppo di edifici a cui si ha accesso da Fondamenta Riformati. Ai tempi della Serenissima, l’area era conosciuta come bersaglio, luogo dedicato alle manovre ed esercizi militari. L’ospedale pediatrico viene costruito alla fine dell’Ottocento e successivamente dedicato a re Umberto I di Savoia nel 1901.

Dagli anni Ottanta, in seguito alla sua dismissione, il complesso viene utilizzato come impianto sportivo, parco e anche sede di istituzioni di carattere sociale tra cui la Casa dell’Ospitalità di Venezia. Nell’ultimo decennio, l’interesse per l’attivazione del potenziale urbano dell’area ha portato il Comune a creare un Piano Particolareggiato a essa dedicato, approvato nel 2012, seguito da diversi progetti che proponevano soprattutto spazi dedicati alla residenzialità.

45.448561, 12.325736


Centro Storico

Valorizzazione storico–culturale, Forme dell’abitare collettivo, Riqualificazione e rifunzionalizzazione, Inclusione e accessibilità

The complex of the former Pediatric Hospital Umberto I is located in the Cannaregio district, on the Historic Center’s northern border, and comprehends a group of buildings accessed from Fondamenta Riformati. At the time of the Serenissima, this was an area known as bersaglio (target), a place used for military training. The pediatric hospital was built in the end of the 19th century, and successively named after king Umberto I of Savoia in 1901.

From the 1980s on, following its dismission, the complex has been used as a sport facility, park and also as headquarters of social institutions such as Casa dell’Ospitalità di Venezia. In the last decade, the interest for the activation of the area’s urban potential has led the municipality to create for it a Particular Plan of Development, approved in 2012, which was followed by several design propositions aiming specially at the creation of residential spaces.




circo 1

“Dismantling a traveling circus is equivalent to the saddest and most pathetic moment of this activity”, commented a circus businessman to the newspaper. We can imagine that casting off produces something similar to the emptiness they feel after each performance. The costumes and the lights, the equipment and the animals, the clowns and the tamers, go back to their sincere appearances, to be, simply, human beings that will remain this way until a new performance is carried out.


For the inhabitants of the circus, the time of the show is pure frenzy that is transmitted to those of us who, for a moment ignorant of their humanities, become accomplices. Our lapse of abstraction and enchantment as spectators coincides with that of their greatest investment, with that which gives value to their vocations and their desires, and why not, to their needs. Then we leave, and eventually we forget.


Venice has a similar routine. The city wears its best clothes to receive magnanimous a large number of people a few hours a day but unlike the circus, and as a good city, it is not dismantled after its performances; on the contrary, it survives and transcends them, with all its stages and seats in order. It is when its inhabitants, maintaining or not their costumes and their roles, return to take control of their city in an attitude, we can suppose, opposed to the circus businessman’s feeling of emptiness (to that of the disenchanted actors).


These two Venice that coexist and overlap more smoothly than when in the circus the reflectors go out, share the parameters that define it as a sustainable city (at least according to the contemporary meanings of the term). In a superficial and global view, Venice seems to complete many of the items in a checklist that one asks for a city: there are no cars, people walk, the public spaces are of quality and very used, there is a great resilience in its building infrastructure and it has no peripheries set aside. At the same time, the other Venice, the one that we can look at closely after the crowd, accuses some disturbing indexes: its stable population decreases or moves because of a regional gentry (as the market has no heart), its waters suffer a constant deterioration and the invasion of daily boats puts a highly sensitive ecosystem at risk.


It is about this second Venice (or we should say the first) that keeps the best attractions for the time the public leaves it, that we should concentrate on. The life that goes behind the scenes for the visitors, the one Brodsky, Calvino or Borges knew how to discover. It is so necessary that its absence or disappearance would dismantle that giant tent.

circo 2

Ricardo Sargiotti  .  Lukas Fuster  .  María Rovea


circo 1

El desmontaje de un circo ambulante equivale al momento más triste y patético de esta actividad comentaba un empresario circense al periódico. Podemos imaginar que ese momento de levantar amarras produce un desasosiego similar al vacío que sienten después de cada función. Los trajes y las luces, los aparatos y los animales, los clowns y los domadores, vuelven a enfundarse en sus raídas y sinceras apariencias, a ser, simplemente, seres humanos que permanecerán así hasta que los tiempos ordenen una próxima función.


El tiempo del espectáculo, para los habitantes del circo, es puro frenesí que se nos transmite a quienes, ignorantes por un momento de sus humanidades, nos hacemos cómplices. Nuestro lapsus de abstracción y encantamiento como espectadores coincide con el de su mayor inversión, con aquel que da valor a sus vocaciones y a sus anhelos, y por qué no, a sus necesidades. Luego nos retiramos, y con el tiempo olvidamos.


Venecia tiene una rutina similar. Se viste con sus mejores galas para recibir magnánima una gran cantidad de público algunas horas al día, aunque, a diferencia del circo, y como buena ciudad, no se desmantela luego de sus funciones, al contrario, las sobrevive y las trasciende, con todos sus escenarios y butacas en orden. Es cuando sus habitantes, manteniendo o no sus trajes y sus roles, vuelven a tomar dominio de su ciudad, en una actitud, podemos suponer, opuesta a la desazón del empresario circense (a la de los desencantados actores).


Estas dos Venecia que conviven y se solapan de manera más fluida que cuando en el circo se apagan los reflectores, comparten los parámetros que la definen como ciudad sostenible (al menos de acuerdo a las acepciones contemporáneas del término). En una mirada superficialy global, Venecia parece completar gran parte del check list que se le pide a una ciudad: no hay automóviles, se camina, sus espacios públicos son de calidad y muy usados, una gran resiliencia en su infraestructura edilicia y no tiene periferias relegadas. Al mismo tiempo, la otra Venecia, aquella que podemos mirar de cerca luego del tumulto, acusa algunos índices preocupantes, su población estable disminuye o se desplaza arrastrada por una gentrificación a nivel regional (porque el mercado no tiene corazón), sus aguas sufren un deterioro constante y la invasión de cruceros diarios pone en riesgo un ecosistema de alta sensibilidad.


Es sobre esta segunda Venecia (o debiéramos decir primera) que se guarda las mejores atracciones para cuando el público la deja, que debiéramos concentrarnos. La vida que transcurre tras bambalinas para los pasantes, la que Brodsky, Calvino o Borges supieron descubrir. Tan necesaria que su ausencia o desaparición, desmontaría aquella gigantesca carpa.


circo 2

Ricardo Sargiotti  .  Lukas Fuster  .  María Rovea

wave presentazione
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