"And to the water, not just in Venice," wrote Aldo Rossi, "cities gave different tasks. The boats descending from Ticino in the lombardy mist turned into the boats of the carnival, the buildings on the water mark the engravings of the northern gothic cities.
Proprio l’immagine di Venezia, sintesi di paesaggi gotici e nebbiosi e di inserti o trasposizioni orientali, ne fissa la capitale della città sull’acqua. E quindi dei possibili passaggi, non solo fisici o topografici, tra i due mondi. Anche il ponte di Rialto è un passaggio, un mercato, un teatro.
Just the image of Venice, a synthesis of gothic and foggy landscapes and oriental inserts or transpositions, fixes it as the capital of the cities on the water.
These local analogies in designing a building have a decisive importance for me, if the project is well-read. Even though it is a predictably short-lived building, it's just a Venetian whim."
"I do not know if and how this Venetian theater or theatrical theater will be built - he noted the architect about its realization - but it will grow in my and other designs because it has a character of necessity: its limited capacity allows the possibility of various and direct performances , and with a central place in the city.
Its structure could only be in wood because it is tied to the architecture of this theater not in a functional sense, but because it expresses this architecture: wooden boats, black wood of gondolas, and sea constructions.
Finally, the theater, stable or temporary, was a big carpentry work just masked by gold and stuccos. These are the few notes on a project that is independent of the possibility of its construction and its use. But certainly not independent of a Venetian construction, of a way of design that only search the fantasy in the real. "