Especially if we finish it off with dinner in the vicinity of St Mark's Square. Mark's Square.ĭepending on the time of day, it may already be dark and we will be able to admire it illuminated at night. We will also be able to admire another of Venice's icons: the Church of Santa Maria della Salute. The journey will reveal the beauties of Venice as seen from the Grand Canal itself.
To find out more, here is more information on everything you need to know to get around by vaporetto.
To wash down your meal, there's nothing better than a stroll with an artistic dessert. Mark's Basilica.īook a food tour of Venice Palazzo Vendramin and take a break
#Ielements architecture venice ca how to#
You will find here all the information on how to visit St. However, I advise you to go with all the information already in hand. It will take you 2 hours to visit both monuments at your leisure (unless you decide to see the Museum, the Treasury or the Golden Spade, which would take longer). Here's how to enjoy both monuments to the full. The Campanile is not far behind in terms of quality and grandeur: its 98 metres will provide you with stupendous views. An exceptional monument of Byzantine origin with no less than 5 domes. Undoubtedly the most representative urban space in the city above all because of the presence of the imposing St. I can think of no better way to start a visit to Venice than by going to St. Then we will cross the Rialto Bridge and have lunch at Campo de Santa Margherita. We will begin, therefore, by getting to know the romantic and artistic Venice that captivates so many visitors. Star Renaissance architects such as Palladio, Sansovino and Lombardo left examples of their best art in the city of canals.
A legacy that is palpable in every street, on every corner and on practically every tile. When illumination turns into an element to spy out privacy in the public space or when light pollution leads to a danger regarding health and wildlife, Koolhaas' critical view would have been extremely valuable.Venice is famous the world over for its artistic heritage. However, these perspectives focus more on form than light. The current Biennale could have explored where light is crucial - like the historical window exhibition by the Brooking National Collection or the ceiling section, with visual patterns of luminaires. After all, only when material reflects light can we detect it, as Louis Kahn poetically summarized: “The sun was not aware of its wonder until it struck the side of a building.” Light is often overseen due to its invisible nature. The neglect is especially odd considering Koolhaas’ thoughtful analysis of the influence of lighting in his 1978 work Delirious New York, where he clearly documented, for instance, the “Electrical bathing” of 1890 that extended the beach life at Coney Island or the 1916 Zoning Law that permitted more light to enter into the streets and buildings of Manhattan.īut Koolhaas is not the only famous architect and critical thinker who has placed light in a position of minor importance. Koolhaas' focus on the historical retrospective and his interest in the theory of architecture could have offered enlightening perspectives and initiated a long neglected debate on the role of light in architecture. My manifesto for the inclusion of light as a fundamental element of architecture - after the break.
“Elements of Architecture,” the Rem Koolhaas-curated exhibition at the 2014 Venice Biennale, delved into several remarkable structural as well as technical components of architecture, including floors, walls, doors, stairs and toilets.
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