La Tromba - From the dark to the light
Judith Kinzl
Student Work, WS 2012 / 2013
Architektur | Urbanistik
Once, Venice was only possible to reach over the seaway. The city appeared for the visitor in a majestic way, step by step. Campagnile per campagnile. It was possible to explore the city from the first sight to the landing, and it must have been an overwhelming feeling to enter Venice like this. Over the sea, where the view includes the whole city.
In one of his notations, the poet Rainer Maria Rilke described the feeling of enjoying the first sights from far away and then getting closer to discover more and more details. He felt like entering the city from the front door as a welcomed one.
Nowadays it‘s not that impressive anymore. There are three possibilities to enter Venice. The first one is going by car. Alongside the railtracks. But it‘s not possible to drive inside the city. You have to leave your car on a parking deck for a lot of money and a little bit outside of the city.
The second one is going by bus. They stop at the same place like the cars have to.
Then, the last possibility is to drive on the railtracks the long way through the sea from the land to the peninsula. On the whole way it‘s not feasable to prepare yourself for coming to Venice, cause it can‘t be seen till you walk out of the trainstation. It‘s more like entering the city at the back through a moushole. And you get the feeling that it doesn‘t matter if you‘re here or not. Not like in the times when you arrived like a king, by boat. The only difference to the place or the trainstation from where you‘ve left when you directly step out of the train is, that the people speak another language and maybe the climate is different. This trainstation doesn‘t allow big feelings. Then you have to go through the dark, old station, till the first view of Venice opens in front of you.
But before you can enjoy the city and dive deep into the extensive structure of streets and canals you have to interrupt your way into, because of the stairs that are built in front of the trainstation. It‘s like you‘re standing in front of a very realistic painting, but you can‘t touch to see if it is real.
My intention now, was to bring back the exhilarating feeling of entering the city. Without any barriers. I wanted to let the visitor flow into Venice, like on a boat. Step by step, focused on what is in front of him. Venice.
In case of that I chose the tube. At first it collects and swallows all the people who arrive by train into her red inner, where it gets closer and closer till you have the feeling you nearly can‘t breathe and then it opens again. It‘s possible to unfold and raise yourself again and breath in. And then you see Venice and go directly, without barriers, because the tube overdraws the stairs, up to the city with the uncounted bridges. And when you enter the tube you nearly can‘t see anything, but how more you go ahead it opens up and abandons Venice part by part. Nearly the same as, when you go by ship and the city appears more and more. So I boosted the feelings of arriving with this single tube.
The aim of getting so close inside of the tunnel was, that the feeling of breathing in when it gets big again is more extreme, nearly overwhelming. I brought back, what Rilke and lots of persons experienced a long time ago, when they came by boat. This student work was designed during the semester programme project Venezia - Città Immaginarie.
Student Work, WS 2012 / 2013
Architektur | Urbanistik
Once, Venice was only possible to reach over the seaway. The city appeared for the visitor in a majestic way, step by step. Campagnile per campagnile. It was possible to explore the city from the first sight to the landing, and it must have been an overwhelming feeling to enter Venice like this. Over the sea, where the view includes the whole city.
In one of his notations, the poet Rainer Maria Rilke described the feeling of enjoying the first sights from far away and then getting closer to discover more and more details. He felt like entering the city from the front door as a welcomed one.
Nowadays it‘s not that impressive anymore. There are three possibilities to enter Venice. The first one is going by car. Alongside the railtracks. But it‘s not possible to drive inside the city. You have to leave your car on a parking deck for a lot of money and a little bit outside of the city.
The second one is going by bus. They stop at the same place like the cars have to.
Then, the last possibility is to drive on the railtracks the long way through the sea from the land to the peninsula. On the whole way it‘s not feasable to prepare yourself for coming to Venice, cause it can‘t be seen till you walk out of the trainstation. It‘s more like entering the city at the back through a moushole. And you get the feeling that it doesn‘t matter if you‘re here or not. Not like in the times when you arrived like a king, by boat. The only difference to the place or the trainstation from where you‘ve left when you directly step out of the train is, that the people speak another language and maybe the climate is different. This trainstation doesn‘t allow big feelings. Then you have to go through the dark, old station, till the first view of Venice opens in front of you.
But before you can enjoy the city and dive deep into the extensive structure of streets and canals you have to interrupt your way into, because of the stairs that are built in front of the trainstation. It‘s like you‘re standing in front of a very realistic painting, but you can‘t touch to see if it is real.
My intention now, was to bring back the exhilarating feeling of entering the city. Without any barriers. I wanted to let the visitor flow into Venice, like on a boat. Step by step, focused on what is in front of him. Venice.
In case of that I chose the tube. At first it collects and swallows all the people who arrive by train into her red inner, where it gets closer and closer till you have the feeling you nearly can‘t breathe and then it opens again. It‘s possible to unfold and raise yourself again and breath in. And then you see Venice and go directly, without barriers, because the tube overdraws the stairs, up to the city with the uncounted bridges. And when you enter the tube you nearly can‘t see anything, but how more you go ahead it opens up and abandons Venice part by part. Nearly the same as, when you go by ship and the city appears more and more. So I boosted the feelings of arriving with this single tube.
The aim of getting so close inside of the tunnel was, that the feeling of breathing in when it gets big again is more extreme, nearly overwhelming. I brought back, what Rilke and lots of persons experienced a long time ago, when they came by boat. This student work was designed during the semester programme project Venezia - Città Immaginarie.
