Foreword

There are many varying opinions on the reconstruction of La Fenice, or rather the problem of La Fenice theatre.
All problems are unique, and it is ridiculous to relate them to the general problem of historic centres as one might first be tempted to do.
La Fenice, as we shall see further on, is “a family portrait with interior”, in the words of Luchino Visconti, the theatre of his film Senso, with the white uniforms of the Austrian officers, the tricolour and a murky world of relations around it.
Any interpretation will do, since in reality, as James wrote, “there is nothing left to be said about Venice”.
But if there is nothing left to say, then surely there is nothing left to build.
In this sense the idea of “as and where it stood” has many justifications; however, though it is possible to rebuild the theatre “where it stood” I do not believe it is possible to rebuild it “as it stood”.
Although this project adheres closely to the competition, it cannot recreate the family portrait which only the architecture of time – and personal style – can give.
Having said this, it is true that other rebuilding projects – Mont Saint Michel and Nimes theatre, among others – have already acquired a history and shaped a landscape.
These are the main reasons why my friends and I decided to take on the restoration of La Fenice.
The legendary bird (La Fenice, the phoenix) has risen from the ashes before and will rise again.
We have kept footnotes to a minimum: a “new auditorium”, for example, with a fragment of Palladio's basilica at its basis, not only because it is beautiful but also because it reproduces the Venetian interior, an attempt to reproduce a world of Venetian history and invention inside the theatre.
The ensemble is a restoration project to which everyone brings their own personal touch as well as their skills.
Architecture is made up of many things, and many people are involved in it; the theatre is perhaps the most convincing example of all.
The architect is simply the director of the ensemble.
This is why we worked on the reconstruction of La Fenice, not to make up for a disaster but to recreate a Venetian landmark.
It is an important reconstruction project despite the resonance with James's words.
There will always be something to say about this work.

Project report