The Magazzini del Sale, also known as the Salt Warehouses, are a monumental complex of nine warehouses located in the Dorsoduro sestiere of Venice, Italy, along the Fondamenta delle Zattere ai Saloni, overlooking the Canale della Giudecca. Constructed in the early 15th century (circa 1400–1414), these warehouses were built to store salt, a critical commodity dubbed the “white gold” of the Venetian Republic, essential for food preservation and trade. Renowned for their robust Gothic-inspired industrial architecture, the Magazzini del Sale played a pivotal role in Venice’s economy, managed by the powerful Magistrato al Sal (Salt Office). After centuries of use, the warehouses faced decline in the 20th century but were revitalized through renovations, notably by Renzo Piano in 2009, transforming them into cultural spaces, including the Fondazione Emilio e Annabianca Vedova’s exhibition venue.
Salt was a cornerstone of Venice’s economy, often compared to oil in
modern terms due to its value in trade and preservation. By the 9th
century, Venice exported salt to the Po Valley, leveraging its lagoon’s
natural salt pans, particularly in Chioggia, and importing from regions
like the Balearic Islands, Crete, and Cyprus. The ordo salis (salt rule)
of 1281 mandated that Venetian merchants return with salt as ballast,
lowering costs and ensuring supply, managed by the Magistrato al Sal, a
powerful administrative body that controlled production, trade, and
anti-smuggling measures. At the peak of production in the late 12th
century, Venice had 119 salt-works, with two-thirds in Chioggia and
one-third in the northern lagoon (Murano, Sant’Erasmo, Torcello).
The Magazzini del Sale were built in the early 15th century to store
up to 45,000 tons of salt, addressing the need for reserves during
conflicts, such as the 14th-century war with Genoa. Located along the
Fondamenta delle Zattere, a major docking area for goods-laden rafts,
the site was strategic for maritime access. The warehouses, known as
Saloni, were depicted in Jacopo de’ Barbari’s 1500 map of Venice,
highlighting their importance with boats docked in front, a testament to
their role in the St. Mark’s Basin trade hub.
After the fall of
the Venetian Republic in 1797, the warehouses continued as salt depots
under Austrian and Italian rule, with a significant renovation in 1830
by architect Alvise Pigazzi, a pupil of Giannantonio Selva, enhancing
their structural integrity. By the 20th century, the decline of salt’s
economic role led to neglect, and the warehouses fell into disrepair. In
1973, the Municipality of Venice proposed demolishing them for a
swimming pool, sparking a fierce debate. Emilio Vedova (1919–2006), a
Venetian artist with a studio in one of the warehouses, led a protest,
displaying de’ Barbari’s map at a City Council meeting to emphasize
their historical value. The demolition was halted, though damage to
attics and walls occurred, preserving the warehouses for cultural reuse.
Since 1960, the Municipality has owned the complex, repurposing it
for exhibitions, boat storage, and cultural events. The Fondazione
Emilio e Annabianca Vedova, established to preserve Vedova’s legacy,
acquired one warehouse in 2009, commissioning Renzo Piano for a
renovation that transformed it into a dynamic art space. Other
warehouses host organizations like the Reale Società Canottieri
Bucintoro, a rowing club, and temporary exhibitions, cementing the
complex’s modern cultural role.
The Magazzini del Sale are a rare example of Venetian industrial
architecture, blending Gothic structural principles with utilitarian
design. The complex consists of nine contiguous warehouses, each called
a Salone, built with brick and reinforced to support the immense weight
of stored salt (up to 45,000 tons). Their stark, functional aesthetic
contrasts with Venice’s ornate palaces, yet their scale and simplicity
integrate seamlessly with Dorsoduro’s canal-side landscape.
Exterior
The facade, along the Fondamenta delle Zattere, is a
single-story elevation developed lengthwise, stretching across the nine
warehouses:
Structure: Constructed in brick, the facade features
nine large portals with neoclassical-inspired round arches, added during
Alvise Pigazzi’s 1830 renovation. These portals, designed for loading
and unloading salt, are surmounted by lunette windows (half-moon
shaped), providing ventilation and light. The central portals bear the
inscription “Emporio dei Sali” (Salt Emporium), emphasizing the
building’s historical function.
Buttresses: Oblique buttresses,
arranged alternately, reinforce the exterior walls to counter the
“irregular weight” of salt (one warehouse empty, the next full), a
practical Gothic-inspired feature described by Emilio Vedova as
“extraordinary.” These buttresses enhance structural stability, a
necessity given the salt’s density.
Integration: The facade’s
simplicity aligns with Dorsoduro’s industrial character, complementing
the Fondamenta delle Zattere, built post-construction to facilitate
docking. The complex’s depiction in Jacopo de’ Barbari’s 1500 map,
showing narrow fondamenta and boat activity, underscores its integration
into Venice’s maritime infrastructure.
The Canale della Giudecca
side, facing south, offers a dramatic view of the warehouses’ scale,
with their brick walls rising directly from the water, a quintessential
Venetian image. The 1830 renovation refined the facade’s neoclassical
elements, while the 2009 restoration by Renzo Piano preserved these
features, adding modern exhibition infrastructure without altering the
exterior’s historical character.
Interior
The interior
consists of nine elongated halls, each approximately 60 meters long and
6 meters wide, with high ceilings supported by unplastered wooden
trusses, a raw, industrial aesthetic. Key features include:
Saloni: Each warehouse, or Salone, is a cavernous space designed to
store salt, with reinforced perimeter walls to bear the load. The halls’
brick interiors, described as “exuding effort” by Vedova, retain their
utilitarian character, with minimal decoration.
Renzo Piano’s
Renovation: In 2009, Piano transformed Magazzino del Sale No. 1 for the
Fondazione Vedova, adding a sloping larch-wood floor to create a
perspective effect and a dynamic canvas-moving system using mechanical
arms, allowing Vedova’s large paintings to be rotated every two hours.
This innovative design enhances the viewing experience, adapting the
industrial space for art without compromising its structure.
Damage
and Restoration: The 1973 demolition attempt damaged attics and internal
walls, with one hall retaining a translucent roof due to roof loss. The
2009 restoration repaired these damages, using Rinzaffo MGN Roman
salt-resistant lime plaster to withstand the building’s extreme
salinity, noted as the “most salty building fabric in the world.”
The
interior’s high ceilings and open spaces make it ideal for exhibitions,
as seen in Magazzini del Sale No. 5’s use for the Venice Biennale and
other cultural events. The Reale Società Canottieri Bucintoro uses other
halls for boat storage, preserving the maritime connection.
Architectural Significance
The Magazzini del Sale are significant for
their industrial Gothic architecture, a rare surviving example of
Venice’s working infrastructure, as noted by Emilio Vedova’s defense of
their “extraordinary” design. The oblique buttresses and reinforced
walls demonstrate engineering ingenuity, addressing the unique challenge
of storing heavy salt loads, a feature unparalleled in residential
palaces like Ca’ Pesaro. The neoclassical portals from 1830 blend
industrial function with aesthetic refinement, reflecting Venice’s
architectural adaptability.
The complex’s depiction in Jacopo de’
Barbari’s map underscores its historical prominence, rivaling churches
and palaces in urban significance. Renzo Piano’s 2009 renovation, with
its dynamic exhibition system, elevates the warehouses to a modern
cultural stage, showcasing Venice’s ability to transform industrial
relics into art spaces, akin to the Fondaco dei Tedeschi’s commercial
repurposing. The use of salt-resistant plaster highlights ongoing
conservation challenges, addressed through innovative materials.
The Magazzini del Sale are a cultural and historical landmark,
embodying Venice’s economic, social, and artistic evolution:
Economic Backbone: Salt, or “white gold,” was Venice’s currency for
bartering wheat and other goods, fueling its commercial success from the
9th century. The Magistrato al Sal’s control over the salt trade,
including exports to the Po Valley and Tuscany, made the warehouses a
linchpin of the Republic’s wealth, as critical as the Arsenale for
shipbuilding.
Industrial Heritage: The warehouses are rare evidence
of Venice’s industrial past, contrasting with its ornate palaces and
churches. Their depiction in de’ Barbari’s map and Sanudo’s 1531 diaries
highlights their centrality, with 119 salt-works in the 12th century
underscoring salt’s dominance.
Cultural Transformation: The 1973
protest led by Emilio Vedova, supported by students and intellectuals,
saved the warehouses from demolition, marking a turning point in
Venice’s preservation movement. The Fondazione Vedova’s acquisition in
2009, with Renzo Piano’s renovation, transformed Magazzino No. 1 into a
hub for Vedova’s abstract expressionist works, hosting exhibitions like
Roy Lichtenstein’s pop art in 2013.
Artistic Hub: The warehouses’ use
for Venice Biennale exhibitions (e.g., Stan Douglas’s Canadian Pavilion
in 2022 at Magazzino No. 5) and other cultural events reflects their
modern role as a dynamic art space, complementing Dorsoduro’s cultural
landscape, including the Gallerie dell’Accademia and Peggy Guggenheim
Collection.
Dorsoduro Context: Located along the Fondamenta delle
Zattere, near Punta della Dogana and Santa Maria della Salute, the
warehouses anchor Dorsoduro’s maritime and artistic identity. Their
proximity to Ca’ Pesaro and Palazzo Ariani situates them in a sestiere
rich with Gothic and Renaissance heritage, enhancing their cultural
significance.
The warehouses’ history reflects Venice’s ability to
adapt its industrial past to cultural needs, balancing preservation with
innovation, a theme echoed in Palazzo Civran Grimani’s Neoclassical
transformation.
The Magazzini del Sale are owned by the Municipality of Venice since
1960 and serve multiple cultural and practical functions:
Fondazione Emilio e Annabianca Vedova: Magazzino No. 1 hosts a permanent
exhibition of Emilio Vedova’s works, curated by Germano Celant and
designed by Renzo Piano. The dynamic canvas-moving system and sloping
floor create a unique viewing experience, open to visitors during
exhibitions (check fondazionevedova.org for schedules).
Venice
Biennale and Exhibitions: Magazzini Nos. 3 and 5 are used for Biennale
events and temporary exhibitions, equipped for art displays but lacking
visitor bathrooms, as noted for Magazzino No. 3.
Reale Società
Canottieri Bucintoro: Several warehouses store boats for this historic
rowing club, maintaining the maritime connection, with Marco Dolcetti as
delegate.
Other Uses: Some halls are used for boat storage or
municipal purposes, reflecting the complex’s versatility.
The
warehouses are in excellent condition, thanks to Alvise Pigazzi’s 1830
renovation and Renzo Piano’s 2009 restoration, which used Rinzaffo MGN
Roman plaster to address extreme salinity. The brick facade,
neoclassical portals, and buttresses are well-preserved, though the
translucent roof on one hall remains a legacy of 1973 damage. Regular
maintenance combats acqua alta and corrosion, supported by municipal
funds and cultural organizations like Save Venice.
The Magazzini del Sale are a cultural destination, particularly for
art enthusiasts, though access varies by warehouse:
Exterior
Viewing: The Fondamenta delle Zattere facade, with its nine neoclassical
portals and “Emporio dei Sali” inscription, is best viewed from the
walkway or a gondola on the Canale della Giudecca. The warehouses’ brick
silhouette, framed by Santa Maria della Salute’s dome, is photogenic,
especially at sunset. The Punta della Dogana offers a distant
perspective, highlighting the complex’s scale.
Interior Access:
Magazzino No. 1 (Fondazione Vedova) is open during exhibitions,
typically Wednesday–Sunday, 10:30 AM–5:30 PM, with a €8–10 entry fee
(check fondazionevedova.org). Visitors can explore Vedova’s works via
Renzo Piano’s dynamic system, with guided tours available (contact
info@fondazionevedova.org or +39 041 5226626). Magazzini Nos. 3 and 5
are accessible during Biennale events (April–November, odd years), with
tickets via labiennale.org (€25–30). Other warehouses, like those for
Bucintoro, are private but may open for Venice Heritage Days.
Proximity to Landmarks: The warehouses are near:
Santa Maria della
Salute (5-minute walk), a Baroque masterpiece.
Punta della Dogana
(3-minute walk), a contemporary art museum.
Gallerie dell’Accademia
(10-minute walk), Venice’s premier art museum.
Peggy Guggenheim
Collection (7-minute walk), a modern art haven.
Ca’ Pesaro (15-minute
walk), the International Gallery of Modern Art. Local osterie like
Osteria Al Squero near San Trovaso or cafes along Zattere offer
cicchetti and spritz, with canal views.
Access and Cost: The exterior
is free to view, accessible year-round. Exhibition entry fees vary
(€8–25), with ACTV vaporetto stops at Salute, Spirito Santo, or Zattere
(Lines 1, 2, 5.1/5.2). The complex is a 15-minute walk from Piazza San
Marco or Rialto.
Photography: The facade is ideal for photography
from the Fondamenta delle Zattere or Ponte dell’Accademia, capturing the
neoclassical portals and buttresses. A tripod is recommended for evening
shots, as suggested for Palazzo Civran Grimani.
Dorsoduro’s bohemian
vibe, with artists, students, and historic sites, offers a less crowded
experience than San Marco, ideal for exploring the warehouses’
industrial charm and cultural offerings.