Napoleon’s abandoned palace in Venice shines again

Updated 13 December 2012
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Napoleon’s abandoned palace in Venice shines again

After a century of neglect, a magnificent palace built by Napoleon in Venice has re-opened its doors to the public on the island city’s famous St. Mark’s Square thanks to a French restoration effort.
The reasons for the long abandonment are easily explained — Venice is not Napoleon’s biggest fan.
Nor do canal residents have fond memories of the Royal Palace’s most famous resident — 19th-century Austrian empress Elisabeth or “Sisi” — a symbol of the city’s imperial domination.
“In popular consciousness, Napoleon is primarily the man who ended the glorious republic of Venice (697-1797),” said Andrea Bellieni, director of the Correr Museum which oversees the Royal Palace.
A group called French Committee for Safeguarding Venice has financed the restoration of this sumptuous palace, which was in a pitiful state. With a budget of 2.5 million euros ($ 3.2 million) from private donors, the committee has restored the main halls and the empress’s apartment to its old-time splendour when a 19-year-old “Sisi” and her husband, Emperor Franz Joseph I, stayed there.
The furniture decorating the restored chambers is in the same neo-Baroque style popular at the imperial court in Vienna at the time.
The empress’s boudoir is a highlight with its images of feminine allegories and flowery garlands.
Napoleon proclaimed himself King of Italy in 1805 and ordered the palace built in 1807 in front of the iconic St. Mark’s Basilica after visiting Venice, but never actually lived in it.
Built in six years and decorated by French-inspired painter Giuseppe Borsato, the structure is now the only neo-Classical royal palace in Italy.
“We came across it by accident but we were pleasantly surprised,” said Marc and Marie, a couple of 30-somethings visiting from Nimes in France.
“We thought it would just be a museum with paintings but the ballroom is very, very beautiful,” they said.
Bellieni said he hoped it could rehabilitate Napoleon’s image.
“It’s true that Napoleon took a number of artifacts that were part of the history of Venice and sent them to the Louvre, starting with the horse statues on St. Mark’s Square,” he said.
“But it’s also thanks to him that many artworks were saved.”
“Sisi” is also a candidate for rehabilitation.
“She was an extraordinary woman, not just beautiful but also very sensitive and it was here that she managed to convince her husband to liberate political prisoners,” said Jerome Zieseniss, director of the French restoration committee.
The empress visited the palace one last time in 1895 for tea with Italian King Umberto I and Queen Margherita during a sailing stop on her way to Corfu.
The palace’s most notorious guests were dictators Adolf Hitler and Benito Mussolini, who held their first meeting in Venice in June 1934.
The last king of Italy, Umberto II, also visited in 1946 before leaving for exile in Portugal after the country voted to become a republic.
After restoring nine rooms of the palace and opening them to the public this summer, Zieseniss now wants to tackle the emperor’s apartment: four rooms which will cost 800,000 euros to rehabilitate.
A Russian oligarch and a luxury company have agreed to donate the money and Zieseniss said he hopes to complete at least two rooms by spring 2013.


Saudi Venice Biennale debut follows Cannes

Updated 25 May 2018
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Saudi Venice Biennale debut follows Cannes

  • The Saudi pavilion illustrated the evolution underway as the country embraces a new era of change, powered by Crown Prince Mohammed bin Salman’s Vision 2030 blueprint for the future
  • Communication is the overriding aim for the creators behind the Saudi pavilion

VENICE: In its debut appearance at Italy’s leading architecture fair on Thursday, Saudi Arabia unveiled a sweeping exhibition exploring the country’s progress over the past five decades. 

Holding its own among the 65 national pavilions at the 16th Venice Biennale’s International Architecture Exhibition, the Saudi pavilion illustrated the evolution underway as the country embraces a new era of change, powered by Crown Prince Mohammed bin Salman’s Vision 2030 blueprint for the future.

It is the first time the Kingdom has had a presence at the Venice event, which is considered one of the leading forums for international architecture and draws hundreds of thousands of visitors from across the globe to the city.

At the heart of the display in the Venetian Arsenal — the historic shipyards that house some of the most prominent pavilions at the fair — a set of screens on opposite walls flash clips of Saudi cities showing people wandering along the Jeddah Corniche or drinking coffee at a Bujairy Park cafe in Riyadh.

The reels illustrate the way urban sprawl has unfolded across the Kingdom, where rapid urbanization resulting in settlement-driven growth has skipped over spaces in Saudi cities, leaving vast lots vacant between buildings.

With more than 40 percent of urban land unused, communities are dispersed, creating a sense of fragmentation between neighborhoods connected only by cars.

“The vacant lot is a highly prevalent typology in Saudi cities: anyone passing through them will notice the empty tracts of land everywhere,” said architect Turki Gazzaz, who co-created the pavilion space – which is named “Spaces in Between” — with his brother Abdulrahman Gazzaz.

The duo, who founded Jeddah-based architectural studio Bricklab, beat 70 other entries to secure the commission to create the Kingdom’s first biennale pavilion, which shows the role design can play in restoring the social and structural fabric of Saudi cities.

While outlets for creative expression have previously been limited in the Kingdom, attitudes toward design-led solutions are becoming increasingly favorable. 

“People are becoming more conscious about these critical issues that exist within our urban fabric … this is beginning to spill out into our society and affect it in a positive way,” Abdulrahman said.

Recent reforms rolled out under Vision 2030 have created a channel for creativity to fuel the country’s growth as it looks beyond the oil sector — a turning point highlighted by the pavilion’s use of resin, which is a byproduct of the petrochemical industry.

This has been mixed with sand — a material that both symbolizes Saudi Arabia and links it to the rest of the world — for the giant curved screens that frame the exhibition.

Inside, projections show digital maps of the Kingdom’s main cities, beginning with aerial perspectives that convey their fragmented growth before moving down to street-level snapshots of everyday life in the city.

These pictures have been drawn from social media and most are taken from cars, the dual axis of urban life for city-dwelling Saudis.

Below, old mobile phones, a walkie-talkie and broken motherboards are showcased beneath a glass panel of fragmented electronics to “create a conversation about consumer culture” and comment on the “virtual public space” that people increasingly congregate in at the expense of public places, said Abdulrahman.

Speaking to Arab News at the launch of the Saudi pavilion in Venice on Thursday, Dhay Al-Dhawyan, project manager at the Ministry of Municipality and Rural Affairs, described the need to “humanize” Saudi cities, something Vision 2030, and the more immediate targets for 2020, are moving toward.

“We want to bring back city centers, walkability, accessibility, connectivity and rework the visual aspects of our cities to make them more lively and functional,” he said.

The overall theme at this year’s biennale is “Freespace,” selected by the Irish curators Yvonne Farrell and Shelley McNamara to encourage architects to explore how “a generosity of spirit and a sense of humanity” can contribute to the urban environment.

Tapping into this ethos, the Saudi pavilion curators have compiled a display that blurs the boundaries between development and desert, city border and boundless expanse.

In demographic terms, Saudi cities have always been diverse, but in many cases they lack the infrastructure to encourage interaction, said Jawaher Al-Sudairy, one of the exhibition curators and director of Nahda Center for Research as well as senior program manager at Harvard Kennedy School.

“There are public spaces, but they are under-utilized, so that’s where the conversation should be.”

Communication is the overriding aim for the creators behind the Saudi pavilion, which invites visitors to explore the evolution taking place in Saudi Arabia’s skyline and engage with the social shift underway as the Kingdom steps on to the world stage.

“We’re tackling a global issue here; this is not unique to Saudi Arabia,” said Dr. Sumayah Al-Solaiman, the other half of the female curatorial team at the exhibition.

In keeping with the spirit of the biennale, literature distributed at the Saudi pavilion errs on the side of the aloof and arty, but the experience created by the exhibition is firmly grounded and accessible.

The teams want visitors to identify with the issues raised, which have a global resonance in an era defined by rapid urban growth. “We’re more similar with other nations than we are different … and this is a great way to have a conversation that is not necessarily bound by national boundaries,” said Al-Solaiman, dean of the College of Design at Imam Abdulrahman bin Faisal University.

“The Venice Biennale is an excellent platform to start a conversation around architecture and how were designing and building, and we want to have this discussion with other architects around the world.”

“Our participation in the International Architecture Exhibition of La Biennale di Venezia is an unprecedented moment for Saudi Arabia’s creative community. It’s an opportunity to bring pioneering Saudi thought to an international platform through our creative vernacular,” said Ahmed Mater, executive director of the Misk Art Institute, which organized the Saudi pavilion.

“Coupled with the allocation of an incredible pavilion space, we are very excited about our presentation this year at the Biennale Architettura, but are also looking forward to future years and presentations and what they will draw on from our own community.”

For Al-Sudairy, one of the most interesting projects on the horizon is the Riyadh Metro, which she believes will change a lot more than mobility in the capital. “I can’t wait to see how it changes the way people move around … it’s going to transform the city physically and socially.”

The Metro is one of many large-scale projects underway in the Kingdom that aims to bring a sense of cohesion to the country’s urban environments and unite diverse communities.

The Saudi pavilion opens to the public on Saturday, May 26.

 

The Saudi pavilion exhibition ‘Spaces in Between,’ above and top. (Valeria Mariani)