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M+, Hong Kong, © Fondazione Aldo Rossi
Aldo Rossi 阿爾多．羅西
Drawing, Teatro del Mondo, Venice, Italy 意大利威尼斯世界劇場繪圖
1979
The Italian architect Aldo Rossi designed the Teatro del Mondo for the 1980 Venice Architecture Biennale, an exhibition that heralded the arrival of architectural postmodernism. The installation, a floating theatre, was initially anchored on a barge at the eastern end of Venice’s Grand Canal; after the Biennale, it sailed across the Adriatic Sea for a theatre festival in Dubrovnik before being dismantled in 1981.
The four-hundred-capacity theatre comprises a central cube capped by an octagonal tower and pointed dome and flanked by two taller, thinner rectangular volumes. Several square windows dot its yellow wood-plank facade, and a band of sky blue wraps the top of the cube and the tower just below the dome, which is finished in aqua-green zinc and marked by a jaunty triangular flag.
Rossi’s sketches often set the Teatro del Mondo against a crowded grouping of typical Venetian towers and churches, highlighting its connection with urban forms of the past. The theatre also taps into a Venetian tradition of ephemeral architecture, particularly floating structures produced for the annual Carnival. Nonetheless, the theatre’s formal references remain abstract and oddly timeless, less reliant on irony and symbolism—as in other concurrent strains of postmodernism—than on a sense of collective urban memory.
The four-hundred-capacity theatre comprises a central cube capped by an octagonal tower and pointed dome and flanked by two taller, thinner rectangular volumes. Several square windows dot its yellow wood-plank facade, and a band of sky blue wraps the top of the cube and the tower just below the dome, which is finished in aqua-green zinc and marked by a jaunty triangular flag.
Rossi’s sketches often set the Teatro del Mondo against a crowded grouping of typical Venetian towers and churches, highlighting its connection with urban forms of the past. The theatre also taps into a Venetian tradition of ephemeral architecture, particularly floating structures produced for the annual Carnival. Nonetheless, the theatre’s formal references remain abstract and oddly timeless, less reliant on irony and symbolism—as in other concurrent strains of postmodernism—than on a sense of collective urban memory.
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