Santiago Calatrava is being fined—again—for his work.  This time it’s $87,000 for his Ponte della Costituzione, or Constitution Bridge, in Venice, Italy. An Italian court recently ruled that the Spanish architect needs to pay the city for cost over-runs and “negligence” in faulty design. According to The Telegraph, the 300-foot-long steel and glass piece of infrastructure ended up being weaker than intended.  Completed in 2008, the project was controversial from the beginning. Protests and heated criticism over its placement rang out upon its announcement in 1999. The biggest issues included its lack of accessibility for wheelchair users, the conflict between its modernist design and the city’s historic scenery, and the fact that it’s located very close to one of the other three walking bridges that span the Grand Canal. Nevertheless, the structure was installed after years of delays for a total of $12.9 million and now leads locals and tourists over the water from a bus terminal (many of them with rolling luggage in tow) in Santa Croce to the Stazione di Venezia Santa Lucia.  The Telegraph reports that one of the other unexpected problems that people have complained about over the years involves the glass steps. They noted how slippery the stairs get when it rains or the fog descends on Venice in the winter, but Calatrava's office recently told AN that the steps are "no more slippery than other parts of the city." In addition to this, due to the bridge’s location in a highly-trafficked area, the steps have become worn-down. Some of them have already been replaced, according to the ruling judges, even though they were expected to last 20 years.  

Il ponte di Calatrava Si pensa di coprirlo con moquette https://t.co/Y5Zbt5bK7R pic.twitter.com/B9hf1saDl4

— Corriere della Sera (@Corriere) January 7, 2016

Furthermore, the court determined that the steel tubes used on the bridge were too small and the egg-shaped glass elevator, which was later added for accessibility, overheated too much. A court found earlier this year it had to be removed for safety reasons, costing the city $44,000.  The Telegraph noted that when asked over a decade ago to respond to all the criticism, Calatrava noted that he had “no influence in the selection of the contracting company that built the structure.” His work, he said, was limited to the aesthetic. In a call with AN, the firm clarified that the stairlift was, in fact, incorporated into the initial design that was revealed in the late 90s, but it was rejected by the city council. They claimed wheelchair users could take the Vaporetto water taxi instead. Years later, a new mayor commissioned the glass elevator "against Calatrava's advice," the firm said.  This isn’t the first time the famed architect has gotten in trouble with a municipality over the complexity of his projects and the time it takes to build them. Despite that, bridges are one of his specialties having designed 35 total in his career. The first, located in Barcelona, was completed in 1987—which is why the fines against him due to the mistakes on the Constitution Bridge are so high, according to the court.  

The Venice Variations: Tracing the Architectural Imagination Sophia Psarra UCL Press List price: $45.00 Sophia Psarra’s The Venice Variations fulfills a dreamy mission of aggrandizing the titular city’s history and beauty while recognizing its fragility and potential demise because of climate change and overcrowding from tourists and their marine vehicles. The beautifully designed book sets up the over-thousand-year-old city as paradigmatic but atypical. Social and physical analyses add to a discussion of its awesome historical architectural development and two contemporary works that the city inspired, Italo Calvino’s novel Invisible Cities (1972) and Le Corbusier’s Venice Hospital (1964). These projects exhibit an intensity of imagination commensurate with Venice’s idiosyncratic character. Psarra’s book points to the city’s republican governance, worldwide trading patterns, and physiognomy, especially its islands, as evidence of its fundamentally deindustrial nature, positioning its regeneration as an example worth following. Of course, Venice’s architectural importance has always been obvious: Books on Vitruvius were printed there, and Palladio’s thinking and buildings take central stage in its heritage of interwoven islands and structures. The irregularity of the city’s urban fabric introduces variability within an organic whole. Psarra deals very carefully with the history of Piazza San Marco and its central position in civic and religious interpretations of the city. Its architects, Sansovino, Longhena, and Palladio, orchestrated their contributions to this special communal space to create specific views for the public to experience. The piazza accommodated many Venetian citizens and their commercial interests, as well as cultural rites—the author titles this chapter “Statecraft,” but the square welcomed stagecraft, too. Religious processions led by clergy and the Doge marked many occasions. Illustrations of the piazza and its surroundings by the author abound; these educational aids are present to a fault. Italo Calvino makes his Invisible Cities mysteriously visible in print, a feat of vivid invention. This is a novel where plot is overtaken by expansive, thought-provoking fabrications. The merchant Marco Polo describes 55 cities as fantastical constructions to Kublai Khan, who rejoices in his empire. Our two protagonists, Khan and Polo, differ greatly: The former seeks order in his possessions, while Polo “seeks not-yet-seen adventures.” Invisible Cities attracted postmodern architects with its playfulness. The book juxtaposes images of lightness and coherence with images of entropy—disorder and ruin are the fascinations of our two protagonists. Although Polo refuses to discuss Venice, he provokes thoughts of it intermittently, and the city haunts the book. There is a play of numbers showing Calvino’s attachment to the Oulipo group of mathematicians, and he includes Polo’s descriptions and his and Khan’s dialogues and the number of combinatorial rules. Psarra shows some brilliance in this interpretation of mathematical patterns that few, including this author, fully comprehend. Though not an expert in mathematics, Psarra certainly seems to manage these complex concepts in the book. While architecture demands knowledge of mathematics, I wonder if there are architects who might appreciate the math of Invisible Cities as conveyed in The Venice Variations. As the last project Psarra visits, Le Corbusier’s Venice Hospital leaves a heavy imprint on the mind. Unlike the architect’s typically isolated buildings, Venice Hospital is meant to fit in with existing neighboring structures. Le Corbusier’s imagery is pertinent for understanding that of contemporary Venice. If Palladio’s San Giorgio Maggiore lies at the front of the city, the hospital would have marked its back door. The completed project would have been as radical as the first modern designs of the avant-garde—especially in its entrance from beneath, which recalls the Villa Savoye and the later National Museum of Western Art in Tokyo. Psarra also explores the hospital’s affinity with mat buildings as described by Alison Smithson. In fact, Venice Hospital’s place in the realm of architectural history lies in the province of Team Ten, with a neat precedent in Shadrach Woods’s Berlin Free University. The project engaged Le Corbusier’s attention for over nine years; after the master’s sudden death, Guillermo Jullian de la Fuente continued the work. Psarra tells the tale well: how the horizontal layout of the design sets up pivoting squares and nurse stations on the first floor and how the aggregation of cells flows horizontally to merge with the city. As in other signature buildings, Le Corbusier develops a system of squares and golden-section rectangles, which gives geometric logic to the spaces.

One of the world’s great liminal conditions is the space between the viewer and the backdrops along the major canals of Venice, Italy. In most spots along the city’s waterfront edge, the view continues across the canals to architectural and historical layers of magnificent facades. It is a contained view of such sublime beauty, that despite the age-old clichés of Venice, it reminds us why we continue to believe in the power of architecture and the city. But, there are wide and expansive vistas out across the open waters of the lagoon that are as equally as captivating. One thinks, for example, of the view from the quarter around the Giardini towards the Lido and San Giorgio Maggiore, or from the Fondamenta Nove towards the Cemetery of San Michele, that opens up to grand vistas that merge the sky and sea; off in the far distance, hints of outer islands add to the beauty of the setting. Now Red Regatta, a series of performances, or “choreographed regattas,” of up to 52 vela al terzo (traditional flat-bottomed sailboats) is being staged in “La Serenissima” by a group of 250 local partners. The event is organized by the Magazzino Italian Art Foundation in New York to highlights the city’s open vistas. Artist Melissa McGill and curator Chiara Spangaro have painted the sails on the boats a bright red color to activate them in the open water of the lagoon. Pageants like Red Regatta are spectacular in the waters of Venice, and this one, its creators believe, staged using only wind-powered sailboats, is intended to “encourage a new appreciation of the interaction of the defining forces of Venice, water, wind art, architecture.” Further, McGill believes that this piece will also “call attention to the forces of climate change, and tourism.” It’s hard to see how this piece will draw prolonged interest in solving these long-suffering issues, but Red Regatta proudly includes Venetians as the performers in the boats, and that’s a great accomplishment for the city in itself. The dates of the special regatta, organized alongside the city’s ongoing art biennale, are as follow: Red Regatta  June 30, 2019, 12:00 p.m. – 2:00 p.m. Route: San Servolo – Poveglia Viewing locations: Riva dei Sette Martiri; Viale Giardini Pubblici; San Servolo Island; Lido’s Lagoon waterfront From McGill: “Navigating the waters between the islands of San Servolo and Poveglia, Red Regatta will weave through the historic landscape and activate the architecture with the choreographed flotilla. Starting between San Servolo and Venice, Red Regatta will move towards Poveglia, in parallel to the Lagoon coast of Lido.” Red Regatta, coinciding with Venice’s Regata Storica September 1, 2019, 12:00 p.m. – 2:00 p.m. Route: Canale della Giudecca – Bacino San Marco – Canal Grande Viewing locations: Fondamenta Zattere; Punta della Dogana; Isola di San Giorgio Maggiore; Piazza San Marco and Riva degli Schiavoni; Fondamenta della Giudecca, side of Canale della Giudecca Canal Grande Red Regatta  September 15, 2019, 2:00 p.m. – 4:00 p.m. Route: Burano – Torcello Viewing locations: Burano waterfront; Torcello waterfront From McGill: “Concurrently with the historic Regata di Burano, which features the centuries-old tradition of the voga alla veneta, Red Regatta will move through the Northern lagoon between Burano and Torcello. Engaging with the landscape of this unique section of Venice with its ancient Roman ruins and distinctive architecture, the vela al terzo fleet will weave through the islands and call attention to the location’s history and traditions.”

Political chaos is spreading, and climate change is upon us. Meanwhile, populist leaders throughout the world are scapegoating immigrants, trashing environmental regulations and spreading blatant lies. But at the 2019 Venice Art Biennale, one of the world’s most important art exhibitions, artists are fighting back in what may be the largest exhibition of politically subversive art ever shown. Ralph Rugoff, curator of this year’s Biennale, titled the show “May You Live in Interesting Times,” after an apocryphal Chinese “curse” pertaining to periods of danger and uncertainty, which has been cited by politicians ranging from British imperialist Joseph Chamberlain to Hilary Rodham Clinton. In his essay for the exhibition, Rugoff writes that “art can give us tools to reimagine the possibilities of these ‘interesting times’ and so transform this phrase from a curse into a challenge that we can enthusiastically embrace.” Rugoff’s revolutionary agenda is conspicuous for an art exhibition, where the official opening in May also featured glittering parties in Venetian palazzos and a legion of plutocrats and oligarchs. The contrast was especially striking at the Biennale’s main exhibition space, a cavernous brick building known as the Arsenale, in which almost every other artwork appears to be about poverty, sexism, environmental degradation, racism, or political violence. Indeed, at this year’s Biennale, the only thing holding an otherwise disparate show together is the focus on the ills of our time. The main exhibition features the work of 79 artists from around the world and includes sculptures of the growing homeless population in Athens, videos showing Palestinian protestors trying to breach the border in the Golan Heights, and paintings of verdant landscapes that include images of political violence in Kenya. One series of photographs shows half-finished housing developments and piles of garbage outside of Rome. Another series is about the fallout from aspirational housing developments gone bust in India, which according to an accompanying text is linked to, “developers hoardings peddling unattainable dreams.” Capitalism’s failures are rife. One of the first exhibits is a salvo of harrowing nocturnal photographs from the series titled Angst by Soham Gupta, showing disheveled street people in Kolkata, India, whom, as an accompanying text informs us, have suffered “abuse and abandonment.” Their faces display expressions of pain, madness or lust. They are posed embracing one another, dancing wildly, lurching towards the camera or simply sitting quietly in abject loneliness. Gupta gets up close with his camera and shows these spectral characters in a soft light against a black backdrop, revealing a humanity within that you might not otherwise notice. It might be overly ambitious to think that art can help make society more just and compassionate. However, Rugoff is expecting between 180,000 to 600,000 visitors to his show, which runs through November 11th, 2019, and is hoping that it will help change the conversation. He maintains that artists have a unique role in combatting the conspiracy theories and narrow nationalistic messages on social media that increasingly are shaping political discourse. He says that art can reveal hidden or unfamiliar truths in profoundly different ways than can journalism or historical reporting. “We [the public] don’t see things in the same ways that artists do,” Rugoff told me. “They are asking us to hold different images in our minds at one time.” Plato warned about art’s ability to present alternative realities to the body politic, and it seems axiomatic that the more repressive a society is, the more threated it is by artists. Edouard Manet’s painting, Execution of Maximillian, was censored by the French government shortly after it was painted in 1867 because it portrayed the French puppet emperor being shot by a firing squad of Mexican revolutionaries. Fascist regimes and dictators are notoriously fearful of abstract art. Considering that China censored images of Winnie the Pooh because bloggers were comparing the cartoon character’s appearance to Chinese President Xi Jinping, it is understandable that much of the artwork currently being produced in that country is not overtly critical of the regime. But in totalitarian societies, art is politicized even it doesn’t convey a literal political message. “If you are an artist in China today, you are dealing with political import,” Rugoff told me, giving as an example an art installation at the Biennale’s Central Pavilion titled Can’t Help Myself by Sun Yuan and Peng Yu, in which an enormous robot with a mop at the end of its arm moves with terrifying jerks as it repeatedly attempts to control a flowing red substance that looks like blood. Currently, in most parts of the world, artists can more directly challenge the system. Several of the most political pieces in the show had their roots in Marcel Duchamp’s ready-mades, found objects that take on new meanings when signed by an artist and displayed in a museum or a gallery. One is Teresa Margolles’ meditation on the violence engulfing parts of Mexico, which consists of a 39-foot-long cinderblock wall, pockmarked with bullet holes and crested with barbed wire that the artist transported to Venice from the city of Juarez. And just when one is hoping for visual relief from this compelling but disturbing show, one’s view of the canal outside the Arsenale is obstructed by the actual boat from the Mediterranean’s deadliest shipwreck, on which between 700 and 1,100 Syrian refugees went missing. The artist Christoph Büechel transported the rusted wreck, which has a large gaping hole in its side, from Sicily to Venice and titled it Barca Nostra. An accompanying wall text refers to the ship as a “monument to contemporary migration” and as “representing the collective policies and politics that create these kinds of disasters.” A series of prints from the Body En Thrall series by transgender Latina artist Martine Gutierrez shows the artist nude in a series of staged erotic encounters with clothed mannequins, such as one where she is draped across the lap of a figure dressed in a tuxedo with a come-hither expression on her face. Calling to mind Edouard Manet’s notorious Le Déjeuner sur l’herbe in which a naked woman picnics with two clothed men, the prints raise questions of power in regard to Eurocentric standards of beauty, gender identity, consumerism, and a host of other issues that are au courant in cultural studies classes at elite universities throughout the West. The coming apocalypse is also a popular topic at this year’s Biennale. One example is the enormous Eskalation by the German artist Alexandra Birc ken, which is ominously suspended overhead. Here, forty figurines fashioned from black calico and latex look as they are out of one of Dante’s circles of hell—they are shown climbing and hanging off of ladders that ascend towards the vertiginous ceiling of the Arsenale. Wherever they are trying to get to, it doesn’t look good. Another work in the "end of civilization vein" is a sculptural series of large menacing mammals on the verge of extinction by the American artist, Jimmie Durham, who connects human waste with environmental degradation. Durham’s animals look angry and tortured. Their jaws are agape, and teeth bared; wires, cables and dark metal define their forms. They are constructed from contemporary civilization’s detritus, used clothes, discarded furniture, and machine parts. May You Live in Interesting Times is intended to be aggressive and disturbing. We already are living in a post-truth age in which leaders such as U.S president Donald Trump and Brazilian president Jair Bolsonaro are denying climate change and sanctioning political violence as a justifiable campaign tactic. Rugoff clearly wants his exhibition to make us think harder about our fast-changing world. “Ultimately, what is most important about an exhibition is not what happens inside a gallery,” he writes in his essay for the exhibition, “but how audiences use their experiences afterward to reimagine everyday realities from expanded perspectives.”

There is no shortage of exhibitions for those looking for a bit of design among the art at this year’s Venice Biennale Arte. These five shows are the best places to discover both local and international design in the city, on the Biennale grounds and beyond. Dysfunctional by Carpenters Workshop Gallery Pushing the boundaries of art and design is Carpenter Workshop Gallery’s "Dysfunctional," which includes 50 works by the gallery’s esteemed stable of designers. Viewed within the context of the Ca’ d’Oro's Italian masterworks, the exhibition invites visitors to question the historical relationship between form and function. Some of the pieces are inspired by the city of Venice itself, such as Virgil Abloh’s sinking seating and Ingrid Donat’s golden sideboard, the latter of which celebrates Byzantine and Renaissance art and the former, a commentary on the city’s rising sea levels. Check out the full article on our interiors and design site, aninteriormag.com.

Ghana will present its first-ever installation in the Biennale Arte 2019 in Venice later this year, and Ghana’s president Nana Addo Dankwa Akufo-Addo has commissioned David Adjaye to design the national pavilion. The 58th international Venice Art Biennale will run from May 11 through November 24, 2019, under the theme of May You Live In Interesting Times. The saying is erroneously credited as “ancient Chinese wisdom” that refers to living through chaotic or tumultuous times—an idea the biennale’s curator, Ralph Rugoff, has linked to fake news, digital manipulation, and the “interesting times” that we now live in. Ghana’s contribution to the Biennale will be titled Ghana Freedom and will track the evolution of that freedom across three generations, all the way back to the country winning its independence from the United Kingdom in 1957. Six artists will present work influenced by domestic Ghanaian culture and the diaspora beyond its borders, creating a narrative that the pavilion’s curator Nana Oforiatta Ayim describes as “finally moving out of the ‘postcolonial’ moment into one we have yet to envision.” The pavilion itself will be made up of overlapping concentric exhibition spaces clad in “locally-sourced earth,” in reference to traditional Ghanaian structures. “Being able to show the diversity and creativity of Ghana on an international scale is an incredible achievement,” said David Adjaye, “and one which showcases the talent that we have to offer. The commitment and inspiration shown by the President in commissioning this pavilion is a testament to what our country has to offer the art community.” According to the Ministry of Tourism, Arts and Culture, Ghana Freedom will feature “large-scale installations by El Anatsui and Ibrahim Mahama; representation and portraiture by prominent photographer Felicia Abban and painter Lynette Yiadom-Boakye; and a three-channel film projection by John Akomfrah and a video sculpture by Selasi Awusi Sosu.” After the completion of the Biennale in November, the pavilion will travel to Accra, Ghana’s capital.

Alberto Giacometti’s Man Pointing

It is no secret that English Victorian intellectual John Ruskin (1819-1900) loved Venice, and the maritime city was the subject of one of his most famous written works, The Stones of Venice. He made over 15 trips to Venice, documenting it in writing as well as in painting, watercolor, sketches, and even early daguerreotype photographs from the late 1840s—all of which is on view at the Palazzo Ducale (Doge’s Palace) in Venice through June 10.

The exhibition, titled John Ruskin: Le pietre di Venezia (John Ruskin: The Stones of Venice), shows a breadth of material that he produced on his many journeys to the city, with a particular focus on his art. The curators call Ruskin "a central figure in the nineteenth-century international art scene, a writer, painter and art critic," and seek to illustrate how strongly he was tied to Venice and its architecture.

The show features sketchbooks, prints, plaster casts, watercolors, and architectural studies from Ruskin, his influences, and his contemporaries. The objects on view further contextualizes Ruskin's within the history of Venice, but also within the history of art itself. By displaying the material in the heart of Venice in a building that is featured prominently in the exhibition, it becomes an immersive history lesson from many angles.

Ruskin was a proto-socialist and a religious man who wrote often of the moral and social aspects of aesthetics and craft. Ruskin had a fondness for the Gothic and Byzantine, as well as the Medieval and “anti-classical” Venice that he felt was being erased in favor of the Renaissance, a trend he tied to the moral and spiritual decay of Venetian society:

“[Venice]… is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weak—so quiet,—so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.

I would endeavour to trace the lines of this image before it be for ever lost, and to record, as far as I may, the warning which seems to me to be uttered by every one of the fast-gaining waves, that beat, like passing bells, against the Stones of Venice."

Most notably is the influence of one of the first modern painters, the English Romantic J. M. W. Turner, who like Ruskin was grappling with the rise of Modernism. For Turner, this was a cutting-edge use of abstraction to create effects in painting—which Ruskin also engaged with following Turner’s lead. Both Ruskin’s landscapes and his analytical paintings are included in the exhibition. A selection of manuscripts and sketchbooks for The Stones of Venice provide a glimpse into his ways of working, as well.

Information on tickets to the show and hours of operation can be found here.

The Architect’s Newspaper is already in Venice for the 16^th Architecture Biennale all over "La Serenissima." We will have the most complete coverage of the Biennale of any news source, with five reporters on the ground (and water), checking out the pavilions and early events. We have, for example, just been told by French architect Odile Decq that there is a last minute “stand up for women in architecture planned for Friday at 11” in the Giardini and we will have more information on it as it develops. AN will be providing updates and impressions from the Biennale throughout the week.

Carl Laubin, a British-American architect turned full-time painter, has dedicated the last three decades of his professional career to the painting of architectural capricci, bucolic landscapes and portraiture. An architectural capriccio encompasses the imagined assembly of buildings across fantastic landscapes. Laubin’s choice of subject matter jumps between historical periods. What seemed chronological at first: Andrea Palladio, followed by Christopher Wren and Nicholas Hawksmoor, jumped to Neo-Classicists Claude-Nicholas Ledoux, Charles Cockerell, and Leo von Klenze, then to Edwin Lutyens, with Post-Modernist John Outram and Leon Krier thrown into the mix. Currently, Laubin is working on a capriccio of John Nash’s work. On average, these capricci require one-and-a-half to three years to complete, depending on how prolific the subject was, with time split evenly between the drawing and painting periods. Although the bulk of Laubin’s capricci focus on the work of historic designers, he has produced paintings that combine a multitude of contemporary architects. A Classical Perspective comprises architectural pieces designed by the winners of the University of Notre Dame School of Architecture’s Richard H. Driehaus Prize. Beginning with the Choragic Monument of Lysicrates in the foreground, the oil painting collages notable works by Robert A.M Stern, Demetri Porphyrios, Michael Graves, Abed-Wahed El-Wakil and Quinlan Terry, to name a few. Educated at Cornell University, Laubin describes his early painting as “a second, secretive life,” one conducted outside of Cornell’s then-rigid modernist education. Laubin graduated from Cornell with a B.A of Architecture in 1973, and subsequently decamped to England to join Douglas Stephen and Partners, Architects and Civic Designers (1973-1983) and later Jeremy Dixon/BDP (1984-1986). While working as an architect, Laubin painted in secret, waking at dawn to hone his craft before going to work. Seeing as how the production of capricci is a centuries-long tradition, Laubin cites a number of artists as influencing his style. To Laubin, Piranesi “was and remains an example of how to be liberated from the constraints of reality in creating an imagined world in a drawing or painting, and even how to be liberated from the constraints of drawing itself.” Canaletto’s grand paintings of Venice and London are firmly behind Laubin’s composition of urban scenes populated with bustling denizens. In his fantastical characteristics, the phantasmagoric visions of Joseph Gandy are plainly evident. While Laubin insists that there is no clear methodology to his process of creating a capriccio, he has a general approach to each project. The first step is the steady amassing of information on the subject matter. This initial creative moment includes the reading of primary and secondary sources, visiting individual sites, and sketching as much of the architect’s canon as possible. Subsequently, each sketch is collaged and re-collaged until a suitable format is found, representative of an architect’s professional timeline as well as the general hierarchy of their work. In creating the landscapes for his capricci, Laubin follows a recipe for a classical landscape given to him by postmodern architect John Outram. In Outram’s view, one always crossed a river or a bridge into a classical painting, and then ascended through various levels of civilization from cave dwellers, through agrarian societies, to urban areas, and finally places of worship at the highest point. In tandem with this formula, Laubin draws upon the landscapes surrounding individual sites and fuses them into the overarching collage of elements.

Curators Yvonne Farrell and Shelley McNamara of the 16^th Venice Architecture Biennale have announced more details about the 2018 show, themed Freespace. This year, 71 studios and 65 countries, seven of which are participating for the first time, including the Vatican, will show their work in two separate exhibitions, from May 26 through November 25, 2018. In the show’s manifesto by Farrell and McNamara, Freespace is described as, “[…] examples of generosity and thoughtfulness in architecture throughout the world that will be celebrated in the 16th International Architecture Exhibition. We believe these qualities sustain the fundamental capacity of architecture to nurture and support meaningful contact between people and place. We focus our attention on these qualities because we consider that intrinsic to them are optimism and continuity.” As such, Freespace entrants will be given leeway to present works that can range from open civic spaces to material studies, as long as they laud the natural world and “nature’s free gifts.” Freespace is accepting proposals, examples, and pieces of projects, both built and unbuilt, that evoke a hidden beauty through the use of materiality, form, complexity, or place. Paolo Baratta, President of La Biennale di Venezia, praised this year’s theme and the participants’ commitment to improving society through design. “The absence of architecture makes the world poorer and diminishes the level of public welfare, otherwise reached by economic and demographic developments. To rediscover architecture means to renew a strong desire for the quality of the spaces where we live, which are a form of public wealth that needs to be constantly protected, renovated and created?" Below are all 71 architects:

1. 6a architects(London, UK) Tom Emerson; Stephanie Macdonald; John Ross; Owen Watson
2. Alison Brooks Architects(London, UK) Alison Brooks
3. Álvaro Siza 2 – Arquitecto, SA(Porto, Portugal) Álvaro Siza Vieira
4. Amateur Architecture Studio(Hangzhou, China) Wang Shu; Lu Wenyu
5. andramatin(Jakarta, Indonesia) Andra Matin
6. Angela Deuber Architect(Chur, Switzerland) Angela Deuber
7. architecten de vylder vinck taillieu(Ghent, Belgium) Jan de Vylder; Inge Vinck; Jo Taillieu
8. Arrea architecture(Ljubljana, Slovenia) Maruša Zorec
9. Assemble(London, UK) Jane Issler Hall; Mathew Leung; Alice Edgerley; Adam Willis; Fran Edgerley; Amica Dall; Giles Smith; James Binning; Paloma Strelitz; Lewis Jones; Joseph Halligan; Louis Schulz; Maria Lisogorskaya; Karim Khelil; Anthony Engi Meacock
10. Atelier Peter Zumthor & Partner(Haldenstein, Switzerland) Peter Zumthor
11. Aurelio Galfetti(Lugano and Bellinzona, Switzerland)
12. Barclay & Crousse(Lima, Peru) Sandra Barclay; Jean-Pierre Crousse
13. BC architects & studies(Brussels, Belgium) Ken De Cooman; Nicolas Coeckelberghs; Wes Degreef; Laurens Bekemans
14. Benedetta Tagliabue - Miralles Tagliabue EMBT(Barcelona, Spain; Shangai, China) Benedetta Tagliabue; Elena Nedelcu; Joan Callís
15. BIG - Bjarke Ingels Group(New York, USA; Copenhagen, Denmark; London, UK) Bjarke Ingels; Sheela Maini Søgaard; Finn Nørkjær; Thomas Christoffersen; Kai-Uwe Bergmann; Andreas Klok Pedersen; David Zahle; Jakob Lange; Beat Schenk; Daniel Sundlin; Brian Yang; Jakob Sand
16. Burkhalter Sumi Architekten (Zürich, Switzerland)  Marianne Burkhalter; Christian Sumi with Marco Pogacnik (Venice, Italy)
17. Carla Juaçaba(Rio de Janeiro, Brazil)
18. Caruso St John Architects(London, UK) Adam Caruso; Peter St John
19. Case Design(Mumbai, India) Anne Geenen; Samuel Barclay
20. Cino Zucchi Architetti(Milan, Italy) Cino Zucchi
21. Crimson Architectural Historians(Rotterdam, The Netherlands) Ewout Dorman; Michelle Provoost; Cassandra Wilkins; Wouter Vanstiphout; Simone Rots; Annuska Pronkhorst
22. David Chipperfield Architects(London, UK; Berlin, Germany; Milan, Italy; Shanghai, China) David Chipperfield; Alexander Schwarz; Martin Reichert; Christoph Felger; Eva Schad; Harald  Müller
23. de Blacam and Meagher Architects(Dublin, Ireland; Ibiza, Spain) Shane de Blacam; John Meagher
24. Diller Scofidio + Renfro(New York, USA) Elizabeth Diller; Charles Renfro; Ricardo Scofidio; Benjamin Gilmartin
25. DnA_Design and Architecture(Beijing, China) Xu Tiantian
26. Dorte Mandrup A/S(Copenhagen, Denmark) Dorte Mandrup; Frants Nielsen
27. Elemental(Santiago, Chile) Alejandro Aravena; Gonzalo Arteaga; Juan Cerda; Diego Torres; Victor Oddo
28. Elizabeth Hatz Architects(Stockholm, Sweden) Elizabeth Hatz
29. Estudio Carme Pinós(Barcelona, Spain) Carme Pinós
30. Flores & Prats(Barcelona, Spain) Eva Prats; Ricardo Flores
31. Francesca Torzo Architetto(Genova, Italy) Francesca Torzo
32. Gion A. Caminada(Vrin-Cons, Switzerland)
33. GrupoSP(São Paulo, Brazil) Alvaro Puntoni; Joao Sodre
34. Gumuchdjian Architects(London, UK) Philip Gumuchdjian
35. Hall McKnight(Belfast and London, UK) Alastair Hall; Ian McKnight
36. Inês Lobo, Arquitectos(Lisbon, Portugal) Inês Lobo; João Rosário
37. Jensen og Skodvin Arkitekter AS(Oslo, Norway) Jan Olav Jensen; Børre Skodvin; Torunn Golberg; Torstein Koch
38. John Wardle Architects(Melbourne, Australia) John Wardle, Stefan Mee, Meaghan Dwyer, Bill Krotiris, Jane Williams
39. Kazuyo Sejima + Ryue Nishizawa / SANAA(Tokyo, Japan) Kazuyo Sejima; Ryue Nishizawa
40. Kieran Long; Johan Örn; James Taylor-Foster (Stockholm, Sweden) with  ArkDes (Stockholm, Sweden)
41. Lacaton & Vassal Architects(Paris, France) Anne Lacaton; Jean Philippe Vassal
42. Laura Peretti Architects(Rome, Italy) Laura Peretti
43. Maria Giuseppina Grasso Cannizzo(Vittoria – Ragusa, Italy)
44. Marie-José Van Hee architecten(Ghent, Belgium) Marie-José Van Hee
45. Marina Tabassum Architects(Dhaka, Bangladesh) Marina Tabassum
46. Matharoo Associates(Ahmedabad, India) Gurjit Singh Matharoo
47. Michael Maltzan Architecture(Los Angeles, USA) Michael Maltzan
48. Niall McLaughlin Architects(London, UK) Niall McLaughlin
49. O'Donnell + Tuomey(Dublin, Ireland) John Tuomey; Sheila O'Donnell
50. Paredes Pedrosa Arquitectos(Madrid, Spain) Angela Garcia de Paredes; Ignacio G. Pedrosa
51. Paulo Mendes da Rocha(São Paulo, Brazil)
52. Peter Rich Architects(Johannesburg, South Africa) Peter Rich
53. Rafael Moneo, Arquitecto(Madrid, Spain) Rafael Moneo
54. Rintala Eggertsson Architects(Oslo and Bodø, Norway) Dagur Eggertsson; Vibeke Jensen; Sami Rintala
55. RMA Architects(Mumbai, India; Boston, USA) Rahul Mehrotra; Nondita Correa Mehrotra; Robert Stephens; Payal Patel
56. Robert McCarter, Professor of Architecture(St. Louis, Missouri, USA) Robert McCarter
57. Room11 Architects(Hobart, Tasmania, Australia) Thomas Bailey; Nathan Crump; Megan Baynes
58. Rozana Montiel Estudio de Arquitectura(Mexico City, Mexico) Rozana Montiel
59. Salter Collingridge Design(London and Ludlow, UK) Peter Salter; Fenella Collingridge
60. Sauerbruch Hutton(Berlin, Germany) Matthias Sauerbruch; Louisa Hutton; Juan Lucas Young
61. Skälsö Arkitekter(Visby and Stockholm, Sweden) Joel Phersson; Erik Gardell; Lisa Ekström; Mats Håkansson; Axel Wolgers
62. Souto Moura - Arquitectos, S.A.(Porto, Portugal) Eduardo Souto de Moura
63. Studio Anna Heringer(Laufen, Germany) Anna Heringer
64. Studio Gang(Chicago, New York and Los Angeles, USA) Jeanne Gang
65. Studio Odile DECQ(Paris, France) Odile Decq
66. Talli Architecture and Design(Helsinki, Finland) Pia Ilonen; Minna Lukander; Martti Lukander
67. Tezuka Architects(Tokyo, Japan) Takaharu Tezuka; Yui Tezuka
68. Toyo Ito & Associates, Architects(Tokyo, Japan) Toyo Ito
69. Vector Architects(Beijing, China) Gong Dong
70. VTN Architects(Hochiminh City, Vietnam) Vo Trong Nghia
71. Weiss/Manfredi(New York, USA) Marion Weiss; Micheal Manfredi

This year’s biennale will also see pavilions from the aforementioned 65 countries go up in the Giardini, the Arsenale, and the Venice city center. It also marks the first time that Antigua & Barbuda, Saudi Arabia, Guatemala, Lebanon, Mongolia, Pakistan, and the Holy See will be exhibiting pavilions. The national participants have chosen to tackle the theme in a variety of ways. While some countries have opted to highlight environmental justice, others will prompt discussions on a “lack of free space” or seek to explore the term. A full list of the 65 national entrants and their pavilion’s theme can be found here. The United States will front a hefty and diverse group of seven design teams for this year’s show to realize Dimensions of Citizenship.

In The Stones of Venice, John Ruskin decries the ways the modern world is destroying the fragile particularity that is Venice. His biggest worries? Train travel and classical arches. God only knows what he would he make of Aqualta 2060, a proposal presented at the 2010 biennale to ring Venice with skyscrapers. In Salvatore Settis's newly translated If Venice Dies, Acqualta 2060 represents the ultimate debasement of a human-scale city by a global economic system that reduces everything, even history, to a commodity. Though only ever a pie-in-the-sky proposal, Acqualta 2060 is a powerful metaphor for Settis's larger argument. The project, Settis argues, reduces Venice to a series expensive views designed to profit real estate speculators. The historic city—animated by the daily use of it citizens for a thousand years—would be reduced to a shell. A City Without a People If you've been to Venice lately, you know the hollowing out of the city is already well underway. For Settis—an archeologist, art historian and former director of the Getty Research Institute—the imminent danger to Venice is not rising sea levels (though, of course, he acknowledges this as a very serious concern). Much more urgent is the threat that it will drown in the oblivion of a "tourist monoculture":

Oblivion doesn’t simply mean forgetting one’s own history, or developing a morbid addiction to beauty, which is experienced as though it were a lifeless ornament that should console us. It primarily means forgetting something essential: the specific role that a city plays in comparison to others, its uniqueness, and its diversity, virtues that Venice possesses more than any other city in the world.

Settis gazes unflinchingly at the towering cruise ships that turn Venice into a fleeting spectacle for paying guests, while literally weakening its ancient foundations. And to make vivid in our imagination a Venice without actual Venetians, he takes us on an unsavory tour of Venetian-style simulacrums around the world, from Las Vegas to Chongqing—even a proposal for a theme-park style replica of Venice within (most ironically of all) Venice itself. A Vitruvian Oath For Settis, Venice is a vivid case study for a process engulfing historic centers everywhere, and he challenges architects everywhere to stop participating in the accelerating commodification of urban life. In particular, he excoriates the way architects and their clients use purely aesthetic arguments to "mask the cynicism of the financial wheeling and dealing and real estate speculation that triggered them in the first place." As an antidote, the classically minded Settis sends his readers back to Vitruvius. Just as doctors take a Hippocratic oath, he argues, architects should take a Vitruvian oath. "No architect," writes Settis, "should ever agree to building anything—whether it’s a bridge, a terrace, or a window—that might contribute to the death of the historic city by destroying its uniqueness." Cri de Coeur At times, Settis can seem like a conservative curmudgeon, with his extravagant rhetoric and appeal to some golden past. Yet he describes the market's familiar creep into the public domain with such vividness, and he so forcefully marks out what is stake (not just Venice but civil society itself), that by the end you can only thank him exactly for his apparent faults. If you stay with him to the last page, you find it is impossible to disagree with his conclusion that, if Venice dies, "the very idea of the city—as an open space where diversity and social life can unfold, as the supreme creation of our civilization, as a commitment to and promise of democracy—will also die with it." If Venice Dies, by Salvatore Settis, translated by André Naffis-Sahely, New Vessel Press, September 2016, paper, 180 pages, $16.95.