Jean-Baptiste de Boisséson
Project_RENAISSANCE PIAZZA – LIDO DI VENEZIA
CTRL+SPACE International competition
Source : The Miracle of the Cross at the Ponte di Rialto,
Vittore Carpaccio, 1496.
The site for this International Competition is located in the eastern side of the Lido Island, bordering the Adriatic Sea. The plot for this Competition is part of the extinct Ospedale al Mare – Hospital by the Sea – built from 1921 onward as innovative healthcare facilities by the Mediterranean.
Devoted to the treatment of tuberculosis, the therapeutically philosophy was based on the benefic properties of Sun, Sand and Sea water, but where also the arts have played an important role in the process of returning to full health.
Out of these buildings, the Ricreatorio Mario Marinoni is the most prominent. Built in 1921, it was donated by citizens to the Ospedale al Mare complex in order to make more cheerful the permanence of children in the Hospital, improving the care for children through education and art.
Teatro Marinoni was in the forefront of innovative healing procedures, namely by introducing the educative and entertainment aspect in a healthcare typology. In the 1970’s decade, after strong lacking of funding the activities were strongly reduced. The Theatre building was closed in 1975 and a slow shutting-down process of the entire hospital would definitely end in 2006.
Many years of abandonment have taken its toll: the buildings have become strongly degraded and vandalized, apart from the strong influence of the elements. With no private financial interest in the abandoned property, no efforts were made to protect or secure the buildings.
The Ospedale al Mare was a great part of the Cultural heritage and it is still present on the memory of the community of Lido Island. Working with this memory and the inherent value of the place, since 2011 the theatre building has been protected and reactivated by a local Organization – Association Teatro Marinoni – connected with an international network of schools, associations, professionals and artists. Their dream for the future is to revive a common space dedicated to art, care and education, a transdisciplinary school for cultural innovation, artists’ residency and citizens encounter.
The Marinoni theatre, through its central position and its cultural heritage, intervenes as a strategic site to value. The intervention aims at affirming its new status as building of public interest. Additionally, a new horizontal volume englobes the theatre and by only its presence reconnects all the entities of the new cultural centre. It brings back a certain clarity to this urban landscape without altering the architectural qualities of the older buildings.
More than a reunion of four buildings, which are currently separated, the new volume provides a functional coherence in the combining of different programs, welcoming especially the passage of people. This assumption limits the hold on the existing heritage and goes in the direction of an economy of means that benefits new areas of gathering and entertainment.
The lighthouse, reception area of the new pole, is a testament of a new centrality of Lido Island in acting as a junction between beach and culture.
The intervention cannot deny the rich heritage of this site and of Venice through a casual architecture. A common language of characterising elements of the Venetian architecture must therefore contribute to better promoting the history of the place, to its inhabitants and internationally.
The project minimizes the impact on the environment by preserving the local ecosystem, especially the dunes, and limits the pathways in the public space. As a whole, an inside/outside permeability reveals itself all around the be volume in a subtle game of openings and closings, which allows through the diversity of spaces an appropriation of different uses of the manifestations.
Who influences you graphically?
My influences are rather eclectic from the paint to the work of agencies of architecture including the illustration.
First of all my influences result from several painters which stood out the art history such as precursory William Turner of the impressionism, the naïve art and the luxuriant natures of Douanier Rousseau, the lively colors of the Fauvists André Derain and Henri Matisse or still David Hockney and David Hopper for the atmospheres which get free of their paintings. I also observe certain taste for the psychedelic affichisme of the 60s, and the Mouse Studios the artists of which they were even influenced by the Indian art and the Art nouveau, in particular Alphonse Mucha.
The illustration is also a world which inspires me especially the work of young graphic designers as RyoTakemasa, Cruschiform studio or still Tom Haugomat.
Beyond these universes marked by the color, I am rather sensitive to modes of representation more minimalist as those of the Italian magazine San Rocco.
The agencies of architectures also offer an important source of inspiration. I think about Dogma, Fala atelier, Office KGDVS, Viar estudio, 2A+P/A, NP2F and many others.
What dictates your colour palette?
First of all I use the principle of association of complementary colors with most of the time a dominant of hot tones. It is colors which quickly bring a solar and attractive atmosphere to the project. At the same time variations of tints are the association of various factors. Actually colors are in the service of a particular atmosphere for every project, thus I try to draw from the physical and cultural context, the characteristics which will make the visual identity of the project. I try hard before every project to imagine its atmosphere and its color, it is a real tool of reflection beyond the illustrative aspect.
To what extent did the context of Copenhagen influence how you represent your proposal graphically?
The Danish tradition of the hygge, which means something as “well-being” was a founding element in the exercise of representation of this library. Days are short and the plentiful snow in Copenhagen, conferring on the city its character, between shade and light. In this context the nature of the hygge and the library takes all its sense, in a place of refuge playing with a climate of inhospitable one sweetness. In the evening the building adorns itself with an incandescent dress, a light in the city just like a lighthouse which watches on over the harbourg. On the other hand the very present Scandinavian design and movable culture in Copenhagen also influenced strongly this graphics.
Your images vary from monochromatic to colour, what is the effect and purpose of this?
FWhere the color stimulates the eye and the offer of the dynamics in the image, the black and white has the advantage to concentrate the look on what is essential to the project. The drawing seems more uncluttered and corresponds to a will to highlight the timeless aspect of the situation. It brings a photographic side to see film, which gives to the project a quite particular atmosphere. The choice between color or black and white depends on the message that the image has to make pass.
What is the effect of adding texture to the image compared to the classic photoshop paint bucket? How does this change the way the viewer perceives the space?
The texture gives depth to colors, and brings them a more pictorial aspect, without that the frontality of colors is too present. Textures also allow to give some depth of field and to unify all the tints. The texture participates in the atmosphere and in the writing of the image sometimes by translating weather conditions as snow or rain.The relay of textures is also essential sometimes to evoke the materialities of the architecture. For all that textures have rather vocation, in a shape of abstraction to be evoked and to make work the imagination of the spectator rather than to congeal the image in a too faithful representation.