The preliminary project

When La Fenice Theatre was destroyed by fire, the Italian government and city authorities made the reconstruction and restoration of the theatre one of Venice's most urgent priorities.
The theatre was to be rebuilt as quickly as possible.
The debate surrounding the fire, characterised at first by widely differing points of view and failing to produce a solution approved by all involved, nonetheless generated a number of unanimous resolutions...

Texts are taken from the book "I progetti per The reconstruction del teatro La Fenice 1997" and published by kind permission of Marsilio Editori.

The submitted projects

• A.T.I. Carena
• A.T.I. Consorzio Cooperative Costruzioni
• A.T.I. Ferrovial
• A.T.I. Impregilo s.p.a.
• A.T.I. Mabetex Project Engineering s.a.

The Preliminary Project for La Fenice, supervised by the office of the Prefect of Venice, was presented on 30th August 1996. It encapsulates and summarises the debate over the rebuilding of the theatre (see special issues of “ANAGKH” and “Quasar”). The project sets out the blueprints for reconstruction, to involve consolidating, renovating and restoring all surviving structures, parts, fittings and decorations; reproducing the acoustics of the lost auditorium; preserving the unique atmosphere of the lost theatre as regards those areas in public use - within reasonable limits; updating the theatre's operating systems and stage resources using cutting-edge technology; rationalising service areas; and improving the running of the theatre...

The winning project

• A.T.I. Philipp Holzmann

Aldo Rossi:
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...