Casa Sanlorenzo debuts in Venice as a brand new hub for modern artwork

As a part of the inaugural Venice Local weather Week final week, a hanging new house for modern artwork and creativity was unveiled to the general public: Casa Sanlorenzo, dwelling of Sanlorenzo Arts. Conceived by luxurious yachting chief Sanlorenzo as a spot of dialogue between the worlds of artwork, tradition, and sustainability, this progressive venue was designed by architect Piero Lissoni and his agency, Lissoni & Companions, to foster a dynamic trade with a metropolis that uniquely embodies each a deep maritime soul and a wealthy creative custom.

Tucked away within the Dorsoduro sestiere, it’s only a stone’s throw from cultural establishments comparable to Punta della Dogana and the Peggy Guggenheim Assortment. Its home windows open onto a surprising view of the domes of the Basilica di Santa Maria della Salute – a Baroque masterpiece, not too long ago restored to new splendour. Locals who used to go by this spot will certainly recall the quiet allure of the ivy-covered villa, hidden behind a veil of greenery and rendered utterly inaccessible for years. Its picket bridge, damaged and blocked off by red-and-white warning indicators, solely added to its charisma after being deserted for over a decade.

Now, unfold throughout two exhibition flooring (plus a non-public condominium), Casa Sanlorenzo provides over 1,000 sq m devoted to artwork and tradition – complemented by an beautiful 600 sq m open house and backyard that provides an sudden contact of serenity to this nook of the town. The primary shock? In contrast to many latest tasks that lean closely on a nostalgic Venetian aesthetic, architect Piero Lissoni and his studio opted for a boldly minimalist method. The unique brick façade and white balconies have been rigorously preserved, however step inside and also you’re met with hovering glass partitions overlooking a backyard with a modern lounge space, sliding spotlights, and cell panels – each element clearly designed with exhibitions in thoughts.

The sense of distinction between the outside and the inside was very a lot intentional, Lissoni confirms: ‘This undertaking started 4 years in the past,’ he explains. ‘After visiting 12 totally different websites in Venice, it was right here that I lastly heard the undertaking’s “voice”. Again then, the constructing had no home windows, the hallways had been slim and darkish, the rooms small and oppressive. At this time, all the things is white – an homage to the unique construction, which had good bones, like a tough, uncut stone.’ Lissoni makes one factor clear: there was by no means any intention to ‘rescue’ a conventional Venetian dwelling. ‘This was a contemporary home, constructed between 1942 and 1948. I needed it to stay past its previous, to inform a wholly new story.’

‘The essence of the undertaking is cultural – a hub the place artwork, structure, design, analysis, and poetry can join,’ Massimo Perotti, government chairman of Sanlorenzo, emphasises. For its grand opening, Casa Sanlorenzo showcased works by Alighiero Boetti, Lucio Fontana, and Emil Michael Klein – items drawn from Sanlorenzo’s personal assortment. Perotti’s imaginative and prescient is rooted within the model’s earlier collaborations with the Venice Artwork Biennale and its presence at Artwork Basel. It displays a transparent dedication to cultural accountability, with the purpose of turning into a catalyst for contemporary views.

The purpose, Perotti continues, is to create a bridge between Sanlorenzo’s core work – engineering, analysis, and improvement and the broader worlds of artwork, science, expertise, and philosophy. This metaphorical bridge is echoed in a really actual one: the brand new footbridge designed by Lissoni. Made totally of prefabricated steel and already totally assembled, it encompasses a floor of conventional Istrian stone, typical of Venice, and a handrail carved to resemble an oar – an homage to the town’s deep bond with the water. ‘Nobody had dared to construct a brand new bridge in Venice since Calatrava’s,’ Perotti laughs. ‘The native girls who stroll by with their purchasing trolleys – the true custodians of Venetian style – have instantly taken out their telephones and snapped photos. Up to now, those I’ve spoken to say they approve.’ For Lissoni, the bridge needed to be reimagined: ‘It wanted to mirror outward, towards the town, what’s taking place inside the home. It was conceived as a pure technological gesture – nearly a mathematical equation crystallised into type.’

However the true showstopper lies inside: one of many undertaking’s most progressive options is the glass staircase. Impressed by the constructing’s unique geometry and reinterpreted with metal and, naturally, glass, it’s a hanging centerpiece. ‘Everybody is aware of – I really like staircases. I’m obsessive about them,’ Lissoni admits. ‘And in Venice, there needed to be one in glass. A clear, stable construction that doesn’t shake, doesn’t sway, doesn’t transfer – and above all, doesn’t slip.’

Sustainability was key to the transformation: the constructing now operates at net-zero vitality, with tailored options for home windows, glazing, ceilings, flooring, and the administration of each vitality and water. This achievement, Lissoni notes, is the results of embracing Venice’s genius loci – its distinctive spirit – alongside the craftsmanship of native artisans, corporations, engineers, and designers.