Punta della Dogana
View of Punta della Dogana, facing northwest
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| Established | 6 June 2009 |
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| Location | Venice, Italy |
| Coordinates | 45°25′52″N 12°20′10″E / 45.431°N 12.336°ECoordinates: 45°25′52″N 12°20′10″E / 45.431°N 12.336°E |
| Type | Art museum |
| Owner | City of Venice |
| Website | Official website |
Punta della Dogana is an art museum in Venice's old customs building, the Dogana da Mar. It also refers to the triangular area of Venice where the Grand Canal meets the Giudecca Canal, and its collection of buildings: Santa Maria della Salute, Patriarchal Seminary of Venice, and Dogana da Mar at the triangle's tip.
Punta della Dogana is located between the Grand and Giudecca Canals at the tip of an island in the Dorsoduro district. Adjacent to each other are the Dogana da Mar, Patriarchal Seminary, and Santa Maria della Salute. It is diagonal from the Piazza San Marco.
The point was used for docking and customs as early as the beginning of the 15th century. The temporary structures built to store merchandise and customs workers were replaced by the Punta della Dogana, whose construction began in 1677.
The museum's art is housed in and around the Dogana da Mar building. It was built between 1678 and 1682 as a customs house. The arcade styles reflect their construction in different eras. Atop the building are statues of Atlas, built to represent the supremacy of the Republic of Venice. The two slaves hold a golden ball upon which Giuseppe Benoni's Fortune stands. The 17th-century statue turns in the wind. The last renovation of the building was done by Alvise Pigazzi in 1838.
The building was restored by Tadao Ando from January 2008 to March 2009, funded by François Pinault, a French billionaire and art collector. He signed a 33-year agreement with the city. The building had been empty for decades prior, with failed plans to turn it into apartments or a hotel. Dogana da Mar's stuccoed brick exterior was restored without additions, and is the only part of the original structure left intact. Cosmetic imperfections and the stucco were repaired, and bad areas were reinforced with stainless steel anchors, but areas with visible brick were left exposed. The interiors were left bare without surface treatment, and bricks were replaced sparingly. The room partitions from the last two centuries were replaced with parallel, rectangular halls. The roof was replaced by a similar roof with timber gables, with added skylights. The new floors are made of exposed and polished concrete, in some places covered with linoleum. Frank Peter Jäger called these smooth surfaces Ando's trademark, along with glass and steel fixtures that clash with the raw irregularities of the unfinished walls. He added that, for Ando, this combination "symbolizes the union of past, present, and future", the building, his architecture, and the art within it, respectively. Ando wanted to make the western entrance's face out of concrete slabs, but the change was opposed by the city. Exibart's Jacqueline Ceresoli described the building as having "industrial and minimalist soul" with red brick walls. The renovation cost was €20,000,000.
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Wikipedia