Throughout this research, we would like to focus on the Emilio and Annabianca Vedova Foundation in Venice. The Foundation's Museum was opened to the public in 2009 and dedicated exclusively to the work of the Venetian artist. It is situated in the suggestive headquarters of the Salt Warehouses, one of which was saved from destruction and used as a studio by Vedova in the last part of his career. The restoration of this medieval space and its new destination as a museum was entrusted by the painter himself to his long-year friend architect Renzo Piano. They knew each other from 1983 when they cooperated to realize the scenography for Luigi Nono's opera Prometeo. The Genoese had already a vast experience of creator and builder of monographic museums at the time of Vedova's commission. He then began to realize an atypical project, where the protagonist is a mechanical device with the task of extracting from a cage-deposit the painter's works and bring them to the visitor's attention along the gallery of the former warehouse. After a short introduction to Emilio Vedova's art, it will be important to discuss his friendship with the architect. This is extremely useful to understand the relationship that Piano had with the artist's legacy and how he transferred his interpretation to the building. Subsequently, I will focus on the device itself, which is not unique in the architect's career. Furtherly, it is possible to find in the project another important characteristic that is common to other Piano's museums: the Treasure House. In conclusion, I will try to find analogies and differences between the Vedova Foundation and the previous monographic museums, trying to outline, if possible, a common approach used by the RPBW to the critical problem of designing a building devoted to a single artistic legacy.

Renzo Piano and his Project for the Vedova Foundation in Venice

William Cortes Casarrubios
2021-01-01

Abstract

Throughout this research, we would like to focus on the Emilio and Annabianca Vedova Foundation in Venice. The Foundation's Museum was opened to the public in 2009 and dedicated exclusively to the work of the Venetian artist. It is situated in the suggestive headquarters of the Salt Warehouses, one of which was saved from destruction and used as a studio by Vedova in the last part of his career. The restoration of this medieval space and its new destination as a museum was entrusted by the painter himself to his long-year friend architect Renzo Piano. They knew each other from 1983 when they cooperated to realize the scenography for Luigi Nono's opera Prometeo. The Genoese had already a vast experience of creator and builder of monographic museums at the time of Vedova's commission. He then began to realize an atypical project, where the protagonist is a mechanical device with the task of extracting from a cage-deposit the painter's works and bring them to the visitor's attention along the gallery of the former warehouse. After a short introduction to Emilio Vedova's art, it will be important to discuss his friendship with the architect. This is extremely useful to understand the relationship that Piano had with the artist's legacy and how he transferred his interpretation to the building. Subsequently, I will focus on the device itself, which is not unique in the architect's career. Furtherly, it is possible to find in the project another important characteristic that is common to other Piano's museums: the Treasure House. In conclusion, I will try to find analogies and differences between the Vedova Foundation and the previous monographic museums, trying to outline, if possible, a common approach used by the RPBW to the critical problem of designing a building devoted to a single artistic legacy.
2021
978-88-3338-152-7
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Descrizione: The Renzo Piano and his Project for the Vedova Foundation in Venice
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11390/1213001
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