Angeloni, S. (2013) ‘Cultural Tourism and Well-Being of the Local Population in Italy’, Theoretical and Empirical Researches in Urban Management, Vol. 8, No. 3, pp. 17-31.
Goffen, R. (1990) Giovanni Bellini. Milan: Federico Motta Editore. Second edition.
González De Lara, Y. (2008) ‘The secret of Venetian success: a public-order, reputation-based institution’, European Review of Economic History, Vol. 12, No. 3, pp. 247-285.
Goodwin, H. (2015) ‘Tourism, Good Intentions, and the Road to Hell: Ecotourism and Volunteering’, The Brown Journal of World Affairs, Vol. 22, No. 1, pp. 37-50.
Howard, D. (1989) ‘The Church of the Miracoli in Venice and Pittoni’s St Jerome Altar-Piece’, The Burlington Magazine, Vol. 131, No. 1039, pp. 684-692.
Humfrey, P. (1988) ‘Competitive Devotions: The Venetian Scuole Piccole as Donors of Altarpieces in the in the Years around 1500’, The Art Bulletin, Vol. 70, No. 3 , pp. 401-423 .
Perry, M. (1977), ‘Saint Mark’s Trophies: Legend, Superposition, and Archaeology in Renaissance Venice’, Journal of the Warburg and Courtauld Institutes, Vol. 40, pp. 27-49.
Rearick, W. R. (1958-1959) ‘Battista Franco and the Grimani Family”, Saggi e Memorie di storia dell’arte, Vol. 2, pp. 105-139.
Remoaldo, P. Ribeiro, J. Vareiro, L. Santos, J. (2014) ‘Tourists’ perceptions of world heritage destinations: The case of Guimarães (Portugal)’, Tourism and Hospitality Research, Vol. 14, No. 4, pp. 206-218.
Samuels Welch, E. (1990) ‘The Court of Bartolomeo Colleoni: New Documents’, Arte Lombarda, No. 92/93 (1-2), pp. 105-106.
Settis, S. (2016) If Venice Dies. New York: New Vessel Press.
Steer, S. (2006) ‘Tota pulchra, et formosa es Maria et macula originalis non est in te: The Congregation of Clergy at Santa Maria Formosa, Venice, and Their Altar of the Immaculate Conception’, Artibus et Historiae, pp. 111-123.
Stermole, K. (2014) ‘Politics, Monuments, and Venice’s Reclamation of Padua during the Cambrai War’, The Sixteenth Century Journal, Vol. 45, No. 2, pp. 351-382.
Tassini, G. (1863) Curiosità Veneziane. Venice: Filippi Editore Venezia.
TEDx Talks (2018) The Power of Gamification in Education | Scott Hebert | TEDxUAlberta. May 7 2018. Available at: https://www.youtube.com/watch?v=mOssYTimQwM (Accessed: May 15 2021)
Toso Fei, A. (2002) Venetian Legends and Ghost Stories: A Guide to Places of Mystery in Venice. Venice: Neroargento.
Vircondelet, A. (2008) Venise un art de Vivre. Paris: Flammarion.
Wiltshier, P and Clarke, A. (2017) ‘Virtual cultural tourism: Six pillars of VCT using co-creation, value exchange and exchange value’, Tourism and Hospitality Research, Vol. 17, No. 4, pp. 372-383.
Zorzi, A. (1999) Venice 697-1797 A City, A Republic, An Empire. New York: The Overlook Press Peter Mayer Publisher, INC.
Here, I compile all the history anecdotes that appear on my map. These are the sort of things that the tourists will read when they receive a notification. The anecdotes are organised in 3 main categories: the anecdotes that refer to specific elements of Venice’s topography ex a church, the ones that are about random facts about the city’s history, and finally nudges to visit certain artisan shops.
(This is the first iteration of the anecdotes, thanks to my interventions I was able to improve them)
Index:
Topography anecdotes
Random history facts about the city
Artisans
Works cited
Topography anecdotes:
Churches
Santa Maria dei Miracoli
This beautiful marble Church was built between 1481-89 as a home to a miracle-working image of the Virgin.
Praised for its use of costly and rare marbles, it is a noble example of the Venetian early renaissance style.
There was a Franciscan order of nuns living in the building opposite the right flank of the church. As a they were to live a cloistered life, they entered the church via a raised passageway over the street. The structure was removed following the dissolution of the convent in the early 18th century.
Bernasconi, G. (1840) S. Maria dei Miracoli [Engraving]. Published in il Fiore di Venezia, Vol. III, Venice.
(Howard, 1989, pp 684-687)
Basiclica Santi Giovanni e Paolo
This 14th century gothic Basilica is also called San Zanipoli in Venetian dialect. It is the biggest church of the city and is the resting place of multiple doge and important figures from the from the XIII to the XVIII century.
The story of its creation is rather poetic. in 1234 Doge Jacopo Tiepolo dreamed of a marshy area full of beautiful flowers, flying doves and crowds of singing angels. In his vision he clearly heard the words “This is the venue I chose for my Preachers”.
The next day he convinced the Senate to donate to the Dominicans the place he had dreamed about, which is now the campo dei Santi Giovanni e Paolo. The basilica was erected and dedicated to those two Romanian martyrs of the V century.
Inside you will find grand monumental Sepulchres, at least 25 are dedicated to doges.
The great Venetian painters Giovanni and Gentile Bellini are resting there. Speaking of Bellinis, you will find Giovanni’s polyptych of Saint Vincenzo Ferrer, a beautifully executed painting.
(Stermole, 2014, pp351-364) (Basilica Santi Giovanni e Paolo)
San Francesco della Vigna
The church and convent were founded in 1254. The structure was originally gothic in style but was replaced in 1534 with the Renaissance church that you see today. Its façade was designed by famous architect Andrea Palladio.
Legend has it that the church was built where Saint Mark had stopped to rest after leaving Aquileia. An angel came to the saint and announced that to honour him a powerful city would be founded in this lagoon. The original Church was built to commemorate this event.
Inside, along with the handsomely decorated chapels, you will be presented with frescoes by Tiepolo and with a painting by Giovanni Bellini, Virgin and Child and Saints, 1507.
This church was originally built in the 9th century but its current appearance dates back to the end of the 16thcentury. Its bare and unfinished façade give a certain industrial character, while the inside is a rich display of Baroque architecture.
Legend has it that the famous explorer Marco Polo was buried here. Inside, one can observe a unique double-sided altar, creating two separate naves. One side to host the public, the other accommodate the Benedictine monks from the nearby monastery.
The church was greatly damaged during the Napoleonic War. It was deconsecrated in 1810 and emptied except for the main altar. In 1865 it closed to the public but in the early 20th century archaeologists organised a series of excavations to find Marco Polo’s grave.
(Ocean Spance)
Santa Maria Formosa:
The origins of this church is located between history and fable as its creation predates any written records by 421 years. Indeed, it was erected by Saint Magnus in 639 following a vision of the Virgin who to him where the church should be built.
It was renovated various times throughout the years: in 864, 1106 following a fire and in 1492 as it was heavily decayed, which is where it was rebuilt in a Renaissance style.
This church contains the vail of Saint Marina who was from Egypt and lived in the 5th or the 7th century. Since there were no female monastic orders she dressed as a man to pursue a spiritual life. The relic seems to have made it to Venice from Constantinople in 1213.
You will also be able to admire Bartolomeo Vivarini’s (Madonna della Misericordia triptych). Completed in 1475.
(Steer: 2006) (Santa Maria Formosa)
*
Museums
Palazzo Grimani
This Renaissance style palace was dramatically modified in the 16th century to resemble a Roman home.
Indeed, the Patriarch Giovanni Grimani was an avid collector of ancient artifacts. The family owned a residence where numerous ancient sculptures from the ruins thermal baths were excavated during its construction.
An entire wing was designed to display Giovanni’s impressive collection. The rooms end with the most significant location of the palace, the Tribuna. It is believed to have been created to exhibit the most valuable statues of the collection.
Its unique structure creates an incomparable atmosphere bathed antiquity and light.
(Ferrara, 2021, pp25-48)
Fondazione Querini Stampalia
Mensions of the Querini family being established here at Santa Maria Formosa date back to the 13th century. While some parts of the palace are dedicated to conveying a fastuous and refined Venetian home, the ground floor was restored by the famous 20th century architect Carlo Scarpa from 1959 to 1963.
The element water is central to his architectural design as it flows inside the palace from the gated entrance to the canal and is present in the garden thanks to an elegant basin structure. This artistic choice no doubt alludes to Venice’s fusional relationship with water.
While admiring the marks of Venetian culture, you can also delve into the contemporary exhibitions that frequently take place in the museum.
(Fondazione Querini Stampalia)
The Scuola Grande di San Marco
The Scuola Grande di San Marco was founded in 1260 as the Scuola dei Battuti, where members met in a modest room. Throughout the years it grew in wealth and influence, so much so that in 1437 it was renamed after the patron saint of the city, Saint Mark.
In 1485 a fire started destroyed the scuola and all its embellishments. An altar candle had set a curtain on fire and the flames burned all night long. Artists Gentile and Giovanni Bellini were hired to collaborate on the sculptural adornment of the façade, while Pietro Lombardo was the architect.
If you go in, you will be met with a large vestibule flanked by grand Corinthian columns decorated with graceful tiles.
This Hall was considered as one of the most remarkable achievements of the Venetian Renaissance. Indeed, it attracted visitors such as European experts and scholars whom came to admire the works of Gentile and Giovanni Bellini, Giovanni Mansueti, Paris Bordone, and Jacopo Palma il Vecchio.
The scuola was turned into a military hospital by the Austrians in the 19th century and today it hosts the city hospital.
(Scuola Grande Di San Marco)
Scuole Grandi of Venice:
The Scuole Grandi were religious confraternities for the laity. They appeared as early as the 13th century and undertook charitable actions. They were greatly influential and had a significant role in the development of music, art and history.
(Scuola Grande Di San Marco)
Equestrian Monument to Bartolomeo Colleoni (Not a museum, a monument):
Search for the man on the horse. If you have, you will notice that It is a Renaissance-style equestrian monument sculpture made out of bronze (formerly gilded) where the statue sits on a marble and Istrian pedestal. It celebrates the warlord from Bergamo Bartolomeo Colleoni who died in 1475. He left his inheritance to the city of Venice in exchange for a monument in Saint Marc’s Square. However, it was decided by the Senate to place the equestrian statue where you see it now. It was completed in 1496 by Alessandro Leopardi after Andrea Verrochia had initiated the sculpture before his death in 1481.
Colleoni was a mighty warrior who proved times and times again that he did not fear death. His quarrels with the Duke of Milan Galeazzo Maria Sforza lead to the latter challenging him to a direct battle, which had to be prevented by the Pope himself. In his old age, he even conveyed through letters that he would rather die on a horse than be poisoned by his enemy Sforza’s spies.
Here used to live a fisherman named Orio. One day, he rescued a beautiful mermaid called Melusina and they both fell passionately in love with each other. He soon proposed to her and she accepted on condition that they never meet on the Saturdays preceding the wedding.
Orio fails to respect her wishes and on the third Saturday went to their usual meeting place. No one but a giant snake was waiting for him there. The poor monster turned out to be the mermaid struck by a curse. She was bound to transform into a snake every Saturday until she was wed.
Fortunately, Orio’s love for her was stronger than the curse and they become husband and wife. They had three children and lived happily until Melusina died of an incurable disease.
The fisherman was devasted but nonetheless continued to support his family. He soon started noticing that the house was always in order and spotless clean when he came home from his long days out at sea. One day he came home earlier to investigate and found a snake. Worried for the safety of his children he instinctively killed the animal. As the house became more and more messy, he realised that he had killed his beloved Melusina.
The red brick heart placed in the underpass commemorates the tragic but never ending love story between the fisherman and the mermaid.
It is whispered that couples who touch the heart brick together will be granted eternal love.
(Fei, 2002)
Door carvings: The beggar who carved the story of the Levantine (Scuola Grande di San Marco)
The perspective games that you can see on the façade of the Scuola di San Marco (The renaissance style building with polished yellow marble, arches and niches) were created Cesco Pizzigani who was a very talented Venetian stonemason.
Tragically, in the early 1500s Cesco’s wife became ill and he was forced to sell his workshop in order to pay for her care. She died and he lost everything.
He was left a beggar outside the school he had helped to build.
To pass the time, the stonemason with an old nail practiced his old craft on the sides of the doorway. He carved the shapes of the ships that he could observe not far away.
He never thought that he would one day witness a haunting scene.
A young man (the Levant referred to a large area in the Eastern Mediterranean region of Western Asia) suffered from being half Venetian and half levantine as he was not always accepted by either communities. Blaming his mother for his torment, he regularly beat her.
One night, his rage took over his body forcing him to stab his mother violently and rip out her hear from her chest.
Horrified of what he had done he fled with the heart in his hands. On the bridge in front of San Marco school he stumbled, fell and lost his mother’s heart.
He heard a voice: “My son, are you hurt?”.
Tortured by terror and guilt the levantine threw himself into the waves in front of the nearby cemetery of San Michele. We can still hear his cries while he keeps on searching for his mother’s heart.
Cesco the Stonemason, was witness to the entire scene, he carved the levantine among the profiles of the ships and made his tragic story eternal.
(Fei, 2002)
The Red Stone into which evil has sunk (Sotoportego della Corte Nova):
On the floor of this intricately decorated underpass lays an unusual red stone. It is believed that in 1630 a woman named Giovanna who lived in this district had a vision of the Madonna. She told her that to avoid the plague a painting representing her image together with Saints Rocco, Sebastian, and Justina must be produced. Once painted, it was to be exhibited in this underpass. Miraculously, the Castello district was spared by the black death, which soon disappeared along with the Madonna’s painting. However, a red stone appeared on the pavement, which is thought to have absorbed the plague.
Some Venetians avoid stepping on the stone because it is considered a bearer of misfortune but others think it as a bringer of money and love.
(Fei, 2002)
*
City elements
A)
The equivalent of a square here in Venice is a Campo, which is the word for field in Italian. Thus, campis were named this way because they used to be covered in grass and not pavement.
Corti and Campielli are smaller than Campi.
B)
When you see that there is a “Rio terrà” sign it means that road was originally a canal.
C)
When you see that there is a “Ramo” sign it refers to the little angle of a way that allows two roads to communicate.
D)
When you see that there is a “Piscine” sign it refers to the little lakes with stagnating rain water that were spread across the city. They were later buried.
E)
The Sottopertego is a covered passage for public use to pass under private houses. They are everywhere in Venice.
(Tassini, 1863, pp22)
Random history facts about the city:
Party tradition:
Venice has always had a very strong party tradition, especially in the 18th century during the Republic’s decline. The extravagant parties were widely described by travellers, poets and artists. During its decline, having excessive parties was a way to trick Venetians into an illusion of glory and later to attract the first tourists.
(Vircondelet, 2008, pp11)
Carnival 1:
The Carnival is mentioned in documents as far as the 10th century under the reign of doge Vital Florier. It is probably their contact with the orient that gave the Venetians this taste for fastuous parties.
It lasted 6 months! It was a combination of a pagan feast and the religious cult. Venetians could enjoy theatre performances, games, street shows and private performances.
In parallel a counter carnival was happening. Religion organised procession and acts of penitence to incite Venetians to repent instead of indulging in debauchery. However, their attempts were not greatly successful.
(Vircondelet, 2008, pp17)
Carnival 2:
Throughout the carnival, masks were extremely important as during the festivities people from any social class became equals and partied together. It promoted social equality and transgression as people did not have to worry about their reputation and, thus, act more freely. The most popular disguise (which allowed for the most anonymity), was constituted of the lavara (a white mask), a black hat and, finally, a tabarro (a traditional black cape). The rest of the face was covered by a black silk vail.
(Vircondelet, 2008, pp18)
18th century occupations:
In Venice there were shops and people with occupations, much like today. In 1747 Santi Giovanni e Paolo you had tailors, spice shops, a fruit merchant, a chicken seller, blacksmiths, a mirror maker, and even Music teacher called Girolamo Bassani.
The Beginning of Venice:
The first conquerors of the territory were the Venetes, which originated from the black sea and, which gave their name to the region.
Then came the Romans followed by the Byzantines, which heavily influenced the Venetians. After freeing themselves from Constantinople, The Venetians put in place the Republique of the Serenissima.
(Bertolazzi, 2006, pp22)
Strategically located:
Venice was founded in the 5th century and it became a maritime power in the 9th century. Its position was highly strategic as it was within reach of the Byzantine Empire and traders from the Near East.
(UNESCO)
Most Stable Republic in History:
Venice was the most stable Republic in history as it survived 1100 (Mille cent) years.
(Bertolazzi, 2006, pp28)
Commerce and Industry:
Until the 18th century, Venetian industry primarily focused on the manufacturing of salt, glass, wool, and the sale of timber and iron ore, which came from the mines of Styria and Carinthia. These merchandises were traded to the Byzantine Empire and to the Muslim Orient for luxury goods.
Spices were one of these important commodities as there was a very high demand in Europe for them. Not only they improved the taste of food, but they also used as ingredients to create the modern day equivalent of alcoholic beverages.
(Zorzi, 1999, pp190)
Goods from Egypt, Asia Minor and the Far East:
Goods that the Republic brought back fromEgypt, Asia Minor and Far East:
Gems
Mineral dyes
Peacock feathers
Spices
Textiles (silks, cottons, brocades)
(UNESCO)
Slavery:
Slave trade was common in Venice during the Middle ages and in the 16th century. Slaves mainly came from Russia and Turkey and sold in Venice to the Muslims and sometimes also to Venetians that would use them as domestic workers and farmhands.
(Zorzi, 1999, pp190)
Gentile Bellini Anecdote:
The foreign market was so fascinated by Venetian art that Sultan Mehmed II, a frightful conqueror, invited the famous artist Gentile Bellini to visit his court. He proceeded to present poor Bellini with a man’s severed head in order to show him exactly how he wanted him to portray the decapitation of John the Baptist. the terrified artist accepted his farewell gift of a chain and bid them goodbye.
(Zorzi, 1999, pp198)
Interesting facts about language:
Did you know that half of the spoken vocabulary in Greece is pure Venetian? Indeed, Venice occupied parts of Greece for centuries. It controlled many of the Aegan islands, including Crete, parts of Euboea and had trading settlements and lookout points on the Greek mainland.
(Zorzi, 1999, pp201)
Power in Trade:
After having been occupied by the Byzantine empire Venice became an autonomous political unit in the 8thcentury.
(González De Lara, 2008, pp251-252)
The Doge:
The Doge, who was the head of Venice, used to behave like a dictator but in 1032 his role shifted and became more of a magistrate who was elected and appointed to the position for life.
(González De Lara, 2008, pp251-252)
Venice’s marriage to the sea:
Venice has always had a fusional relationship with the sea. The Doge’s marriage to the sea perfectly symbolises this bond. The ceremony (‘Sposalizio del Mare’ in Venetian) was established in the early Middle Ages. The Doge was to sail out into the Adriatic sea, followed by a procession of boats and pray. In the 12thcentury the rite evolved and the Doge started throwing a ring into the water to represent Venice’s marriage to the sea.
(UNESCO)
Architecture of the house:
In Venice, you will notice that architecture greatly focuses on outward appearance. Fine looks were so important that grand facades facing the canal highly contrast with the more ordinary sides of the buildings. Indeed, the most important door of a building is the one that opens to the canal as it is where the grandeur is meant to be seen.
The Venetians strongly followed the Renaissance belief that outward beauty is a sign of inward virtue.
(Muir, 1979, pp18)
The Early Venetian home:
Known as casa-fondaco, the early palaces served as both the workplace (warehouse) and the home of the merchant nobility.
Usually, the ground floor was structured like a gallery, which opened to a main entrance hall, used for unloading and loading merchandise. Smaller rooms, used for storage, flanked the gallery.
An external staircase would take you to the first floor/the piano-nobile (noble floor). This floor also displayed a main hall, which was originally used as a display are for goods but it later became a way for the family to display their wealth with rich decoration and to entertain guests. The side wings were used for administrative purposes. The next floors were reserved for family and servant lodging.
(Muir, 1979)
Venice number of islands, canals, bridges:
Venice is made of 118 islands, has 150 canals, and 436 bridges. Impressive, right?
Sestieri:
Venice is divided in 6 zones called Sestieri. They include:
Cannaregio
Castello
San Marco
Dorsoduro
San Polo
Santa Croce
Here you are in Castello, which was named that way because allegedly there used to be a castle located on the extreme tip of it. It is the Only district that does not face the Grand Canal.
Bridges:
The bridges used to be made out of wood, they were later replaced by stone and arched bridges.
Scuole:
Corporations with a religious background, on which the state had direct interference. They had a humanitarian purpose and were patrons of the arts. (see in my dissertation notes reseach saint Marks)
(Tassini, 1863, pp 15-22)
Artisans:
Schegge Art & Craft
Annalisa Angela Victor (family business)
You are close to Schegge Art & Craft! This a family owned business since (date) makes incredibly intricate handmade masks. Make sure to check it out!
You are close to Papier Machè! If you walk in, you can see three dedicated artisans painting masks. They also offer a wide range of other products such as ceramics, papier maché objects, painted wooden panels and figurines. Make sure to check them out!
You are close to Scriba! Their artisanal hand painted paper products (notebooks, pens, frames etc) have a very high quality in materials and manual work precision. Make sure to check them out!
Humi Lab
You are close to Humi Lab! There you can find unique design objects including Venetian traditional fabric prints, jewellery, various wooden objects and glass. Make sure to check them out!
González De Lara, Y. (2008) ‘The secret of Venetian success: a public-order, reputation-based institution’, European Review of Economic History, Vol. 12, No. 3, pp. 247-285.
Howard, D. (1989) ‘The Church of the Miracoli in Venice and Pittoni’s St Jerome Altar-Piece’, The Burlington Magazine, Vol. 131, No. 1039, pp. 684-692.
Muir, E. (1979), ‘Images of Power: Art and Pageantry in Renaissance Venice’, The American Historical Review, Vol. 84, No. 1, pp. 16-52.
Steer, S. (2006) ‘Tota pulchra, et formosa es Maria et macula originalis non est in te: The Congregation of Clergy at Santa Maria Formosa, Venice, and Their Altar of the Immaculate Conception’, Artibus et Historiae, pp. 111-123.
Stermole, K. (2014) ‘Politics, Monuments, and Venice’s Reclamation of Padua during the Cambrai War’, The Sixteenth Century Journal, Vol. 45, No. 2, pp. 351-382.
Tassini, G. (1863) Curiosità Veneziane. Venice: Filippi Editore Venezia.
Toso Fei, A. (2002) Venetian Legends and Ghost Stories: A Guide to Places of Mystery in Venice. Venice: Neroargento.
In this post I document the surveys I have created to investigate my stakeholders’ opinions on various subjects related to my project.
Index:
If you have not yet visited Venice
For those who have visited Venice
Tourism in Venice (for Venetians)
First Intervention Feedback (for Venetians)
First Intervention Feedback (for tourists)
Travel experience (evolution of the project)
Intervention feedback advertisement video
If you have not yet visited Venice (07/04/2021)
This survey was aimed to see the perceptions that people who have never been to Venice may have of the city. It also enquires what sort of behaviours they would have if they were to visit it.
It gave an idea of what people are interested in and how I can shape my project around those interests.
My questions:
What would you expect from the city?
Do you have any negative preconceptions of the city?
Do you think Venice is more a: real city, tourist attraction, both?
Would you buy an affordable object from one of the numerous souvenir shops of the city?
Would you want to be guided in your discovery of the city by: (tour guide, an app, a printed copy, other, no guidance).
Would you want to discover hidden corners that tourists tend to walk past?
How long would you stay approximately?
Would you like to visit the city through interactive experiences?
Would you want to speak with some locals?
Some response examples:
Do you think Venice is more a: real city, tourist attraction, both?
Would you like to visit the city through interactive experiences?
Would you buy an affordable object from one of the numerous souvenir shops of the city?
For those who have visited Venice (07/04/2021)
This survey enquires on people’s previous Venice experiences. I wanted to see how they behaved to form a more accurate tourist profile in my mind.
My questions:
Did you enjoy your Venice experience?
Did you find the streets were too crowded?
Do you think you had an authentic experience of the city?
Did you try to stray from the tourist routes?
Did Venice seem to you like a real city or a tourist attraction?
Did you buy objects in one of the numerous souvenir shops?
Did you buy any artisanal artefacts or small boutique items?
Did you actively seek out cultural institutions to visit, if yes, did you find them too expensive?
Did you receive some kind of guidance during your stay? (tour guide, an app, a printed copy, other, no guidance).
How long was your stay?
Some response examples:
Did you receive some kind of guidance during your stay? (tour guide, an app, a printed copy, other, no guidance.
Did you buy any artisanal artefacts or small boutique items?
Tourism in Venice (for Venetians) (22/04/2021)
Here, I wanted to get locals’ opinions on tourism and on some ways it could be improved and controlled.
My questions:
Do think that the disadvantages of mass tourism surpass its benefits?
Do you think that Venetian culture is threatened by mass tourism?
Do you think that a more regulated, qualitative type of tourism could be enough to sustain the city?
Do you think that tourists visiting less mainstream parts of the city could help unclog popular trails and make certain parts of the city more breathable?
Would you feel uncomfortable if tourists started exploring more quiet areas of the city?
Do you think enough tourists engage with cultural institutions such as museums and galleries?
Do you think it would be beneficial if (day tourists) engaged more with the city’s cultural institutions?
Do you think enough tourists spend money in artisanal shops and small boutiques?
Some response examples:
Do think that the disadvantages of mass tourism surpass its benefits?
Do you think that a more regulated, qualitative type of tourism could be enough to sustain the city?
Do you think enough tourists engage with cultural institutions such as museums and galleries?
First intervention Feedback (for Venetians)(27/05/2021)
This is some of the feedback I have collected from some Venetian stakeholders regarding my first intervention, which is documented in detail here.
My questions:
Did the message of this project was clearly conveyed through this website?
Do you like the idea that some tourists would explore less mainstream/more private areas of the city?
Do you think this could be a way of having a positive impact on the issue of unprofitable mass tourism?
Did you find the story of the ghost engaging?
Do you agree that tourists should get a more authentic experience of Venice?
If yes, do you think that getting Venetians involved in the game could improve local-tourist relations?
Which form should this tour take?
Do you think that using technology would take away from the overall experience?
Additional feedback
Some response examples:
Do you think this could be a way of having a positive impact on the issue of unprofitable mass tourism?
Do you agree that tourists should get a more authentic experience of Venice?
If yes, do you think that getting Venetians involved in the game could improve local-tourist relations?
Additional written feedback examples:
“A big issue is making people that would otherwise be classified as mass tourists be interested in this other activity rather than taking selfies on bridges”
“The use of technology today is targeting and restricting the audience.”
Intervention Feedback (for tourists) (11/06/2021)
This is some of the feedback I have collected from tourist stakeholders regarding my first intervention.
My questions:
Was the message of this project clearly conveyed through this website?
Are you familiar with a similar game-based tour experience?
Do you think that the issue that the project is trying to tackle is an important one?
Would you want to try this gamified tour if you were to visit Venice?
Did you find the story of the ghost engaging?
Would you miss not getting to see the more mainstream landmarks in Venice, such as Saint Mark’s Square?
Is paying the entrance to a museum and a church in order to play the game problematic?
Which should be the vessel for this tour?
Do you think that using technology would take away from the overall experience?
Any additional feedback?
Some response examples:
Did you find the story of the ghost engaging?
Do you think that the issue that the project is trying to tackle is an important one?
Would you miss not getting to see the more mainstream landmarks in Venice, such as Saint Mark’s Square?
Additional written feedback examples:
“The story was interesting, but I would like to have a little bit more to tell me why the places listed on the tour are important for the story. I’d like to be excited to go there, not just because they’re beautiful but also because I want to hear more of the story, I want to feel like a detective! How are Knights related to the story? Are we the knights? Are there ghostly knights in the story? I think it would also help me feel more connected with the city if the story was in some way related to the history of the place.”
“App can be fun and interactive but I also like getting lost in cities without someone telling me what to do or where to go… “
“With regards to the technology, it feels like an app would be best for the project but I feel a printed flyer would also help. I would feel a bit uncomfortable about walking around with my phone out for fear of having it stolen.”
Travel experience(08/07/2021)
Since my project is evolving and becoming more focused I created this survey to gather stakeholders’s opinions on these slightly different concepts that I am moving towards.
I found that more or less half of the participants preferred a planned tourist experience while the other half gravitated towards a more carefree/adventurous experience. It is that 50% that my project will mostly appeal to.
Moreover, most participants agreed that they did not learn enough about host locations, which makes them appreciate the idea of getting unsolicited history facts while exploring, and being pointed out more authentic experiences such as artisans shops. These opinions go the direction of my project, which is encouraging.
My questions:
Do you sometimes feel unsure about what to do when you travel (which landmarks, museums etc you should see)?
When travelling do you enjoy setting out without a plan and hope to stumble upon things of interest?
When you travel do you sometimes feel like you do not learn enough about the history and culture of the visited location?
Would you like to have a way of getting history facts about specific zones near you while visiting a travel location?
Would you like to be pointed out authentic experiences such as artisan shops or museums near you without having to actively seek them out when you travel?
Some response examples:
When travelling do you enjoy setting out without a plan and hope to stumble upon things of interest?
When you travel do you sometimes feel like you do not learn enough about the history and culture of the visited location?
Would you like to have a way of getting history facts about specific zones near you while visiting a travel location?
Intervention feedback advertisement video (18/08/2021)
This is the feedback I have collected on the subject of my intervention (advertisement video for the app, which can be read about in detail here).
I was glad to see that the participants mostly understood what the video was advertising. When I asked them to write what they believed the app aims to offer, many of them came up with very accurate decisions. Most participants agreed that the selling point of the app was clear, that it would enhance the tourist experience and that most of them would use it when travelling.
My questions:
What do you think this advert was advertising?
Was the unique selling point of the app clear?
Is this something you would use while travelling?
Do you think this could enhance the tourist experience?
Are you familiar with a similar app?
Additional feedback
Some response examples:
Was the unique selling point of the app clear?
Is this something you would use while travelling?
Do you think this could enhance the tourist experience?
Recommended tour and map designsurvey (28/09/2021)
This survey is part of the intervention Recommended tour and map design, which is explored in more detail here.
I basically created three images of the app to get stakeholders’ feedback on map design (an important feature of the app), and whether they would gravitated towards a “Recommended tour” option rather than choosing a the more free and explorative experience that I am trying to promote.
The first image gives participants context and explains what is expected of them. In the second image, they just had to choose one of the two options.
In this image participants were asked to choose a colour pallet (dark tone, light blue tones, grey), and then which map design they preferred.
This will not appear in the final iteration of the project
One of the aspects of gamification of the tour is the narrative that ties it together. The tourists will follow an immersive story that will unravel as they reach each stop of the path. By the end a mystery will come to light and they would have learned about Venice’s history.
Index:
Version 1
Version 2
Version 1:
12/05/2021
It all started when a merchant ship brought back from the East a mysterious object. It was rumoured to have magical virtues. The story of the wonders that could be achieved by the object spread like wildfire throughout Venice.
The family that owned the lucky ship was divided on what to do with the strange artefact. The son exited by all the attention their business was getting wanted to sell it to the highest bidder. His widowed mother, however, mistrusted the ominous power of the object and the way it was affecting people’s senses. Indeed, unrest was growing like a powerful wave. All were fighting to possess it.
Seeing what was becoming of his city, the son agreed to dispose of the object. He left the palace in the cover of night hoping to make it disappear.
Destiny was cruel that day. The young merchant was murdered and the object stolen.
His ghost still wonders the streets hoping to find a charitable soul willing to help him find the stolen artefact and take it to a safe hiding place.
Feedback from Stakeholders:
This version of the story appeared in my first intervention, the mockup website that outlined the game idea in the Venetian tourism context.
I received I comment from a local that I thought was particularly compelling. She suggested that the narrative of the tour guide could be a metaphor for how Venice has been sold to tourism. By the end of the game the tourists realise that that the precious object they are looking for is not a small trinket but the entire city of Venice. The moral of the story would be that the city is a precious jewel that must be preserved. Consequently, it is a way to connect the story to the actual problem.
Another piece of feedback advised me to make the knights more central to the story as it was not clear what their role was.
Version 2:
15/06/2021
Keeping the feedback from my intervention in mind, I decided to come up with a more symbolically charged version.
2 of the feedback I was given were particularly compelling:
That the story parallels Venice current situation (even if it is set in another era), this would be a way of connecting the story to the actual problem
That the knights of Venice should be central to the story and given a clear role
Story 2:
A merchant ship brings back from the East a wonderful piece of Jewellery with mysterious origins. It is said to be composed of precious stones and gems from all over the Venetian trade route.
It was a gift to the city of Venice from an odd individual. She asked for it to never be sold. “this is a gift from me to Venice, may it be seen, shared, and admired by all, but never sold or used for personal gain”.
The young merchant, owner of the lucky boat aims to take advantage of the intense interest that the object is sparking in Venice. His mother is more reluctant as it would go against the wishes of the generous donator. People from all around the known world travel to see it or to try to buy it. The mother notices that the frenzy seems to be affecting people’s senses as greed and dishonesty become more apparent.
The Knights of Saint Mark, protectors of the city, become aware of the danger that the object represents as the unrest it brought troubles the peace of the city. They attempt to reason with the young merchant who is still waiting for the highest bidder.
They believe that the jewel should be displayed for everyone to see as a symbol of prosperity and diversity signs of Venice’s greatness and beauty. Their numerous attempts fail and frustration in Venice keeps growing.
Seeing what was becoming of his city, the son finally agreed to give back the object to the city. He left the palace in the cover of night hoping to meet with the knights. Destiny was cruel that day. The young merchant was murdered and the Jewell stolen never to be seen again.
His ghost still wonders the streets hoping to find charitable souls willing to help him find the knights.
Symbolism:
The mysterious object that came from the East becomes irrelevant and we find out that it is actually Venice that must be found and preserved. It is representation of Venice, it symbolises that the city is a product of this incredibly diverse heritage that was brought forth by conquest and trade.
The strange lady could be the Roman goddess Venus as she shares many traits with the city. Their birth is linked to the sea, their names are similar, Both considered breathtakingly beautiful.
The merchant represents those who sold Venice to tourism
The reluctant mother represents the Venetians
The kinghood is a force that unifies Venetians and locals
The aim of game:
The ghost repents for having failed the city.
The aim is to help him finding the order for him to seek forgiveness and find peace. He also does a good deed by bringing them other possible knights.
The object is irrelevant, it was always a mean of making us understand that Venice should be preserved, Venice is the jewel.
On the 9th of July I decided I had gathered enough material to start having conversations with artisans. My aim was to chat with different artisans (not necessarily those I thought could appear on my tour) and see what was their current situation after covid and if my project seemed appealing to them. Some were more supportive than others and this definitely helped me put some things into perspective.
My main conclusion from these encounters is that day tourists do not visit true artisans shops. These artisans’ client base is almost exclusively constituted of people that stay one or a few nights in Venice. Unfortunately, day tourists do not have the curiosity nor the drive to explore what is truly authentic.
These conversations confirmed my research that day tourists are the right group to target. Changing their behaviour by making them more aware of the true Venice and what it has to offer could have a positive impact on these artisans.
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Encounter with Papier Machè mask artisans:
8/07/2021
I approached the Papier Machè artisan shop, which is run by three artisans, to pitch my idea and see if they would be interested in being part of the route I have designed. Unfortunately, I realised that the rift between certain locals and day tourists is way deeper than I had imagined. Indeed, it was made clear that those were not the sort of tourists they wanted to have around.
It was emphasised that they did not want too many people inside the store that would just look around and potentially not buy anything. When I mentioned that I aimed to create a contact between locals and tourists to improve their relationship, I was told it is not an approach they seek out.
I personally believe that this mentality is flawed as they expressed no willingness to share their craft or exchange with people that are not 100% guaranteed to buy.
On the other hand, I hear them, I understand that day tourists are not always the most respectful and appreciative. The artisans must have had some bad experiences in the past. One of them mentioned that it would be a better idea to teach tourists how to be respectful when visiting and how to truly appreciate the craft.
While I was in the shop there was a man taking photographs for a new website called Behind Venicewhere they map out all the remaining artisans of Venice to help them gain more notoriety. He told me that there are already many initiatives that try to help Venice in some way, therefore, it would be better to work together with other people already established rather starting something completely new.
(Behind Venice map) Behind-Venice. (2021) Discover and enjoy the authentic Venetian artisans and activities. Available at: https://www.behind-venice.com (Accessed: July 8 2021). My map
In many ways it resembles the map I had created with artisans, legends, cultural institutions, churches.
Conclusion:
Although I am aware that it is completely normal to have people disagreeing with your project, this interaction has made me think. It has underlined some things that I was already worrying about.
Having day tourists wondering in more quiet areas may not please everyone (I sent out a survey to make sure it would be alright but it may not have reached enough people).
Getting locals involved (artisans and cultural institutions) is complicated
Although I am half Venetian I was not raised there, which amounts to being a foreigner. Thus, there can be a lack of trust.
This artisan was way more supportive and willing to listen than the previous ones. We began by discussing how badly they had been hit by Covid. They barely have enough customers to keep the business going. Then, I enquired which sort of tourists visit the store to see if day tourists (my target group) constitute a part of their customer base. He told me that usually day tourists do not come to this area as it is more museum-based and it is not the sort of entertainment they seek out.
Unlike the previous artisans, they do not mind day tourists and are interested in any initiative that could help attract customers especially in the wake of Covid.
Conclusion:
I was relieved to see that my project was not completely inadequate, which is the feeling I had talking to the Papier Maché artisans. Furthermore, the conversation reinforced how much some artisans are struggling because of the current global situation.
As day tourists rarely spend money in artisan shops, it could make a big difference if they started doing so.
I had a very similar conversation with this artisan. It was reiterated that these were hard times and that his customer base is not day tourists but people that come visit Venice for a few days.
He expressed that day tourists lack curiosity, that they come to Venice to take pictures for social media and do not actually care about exploring.
If they were to come in and ask question about his work he would be happy to share his craft with them even if they do not buy anything. This mentality contrasts with the Papier Machè artisans who were not interested in engaging in conversation with people who do not buy.
He was very interested in idea of gamifying the tour experience but underlined that it could only work if there is a reward to grasp day tourists’ interest. Ex: A free Spritz along the way.
Conclusion:
I am happy to see that there are some artisans that are genuinely interested in sharing their craft with anyone who is interested.
He was extremely supportive of my project, which was very encouraging.
Again, the idea that day tourists could have the power to help the struggling artisans if they were to be guided to them was further reinforced.
This artisan and her partner focus on traditional paper craft. I found this shop by accident while conducting an intervention (more about the interventions here). I proceeded to add it to my map and will make sure that its presence will be notified to tourists walking in the area.
The discussion I had with the artisan highly resembled those I have had in the past. Covid has hit them hard, especially since they are located in a more quiet area of the city. In normal times, their customer base would be constituted of people renting flats nearby, however, due to the current situation, that group has dramatically decreased. She has noticed an increase in day tourists but underlined, just as the other artisans did, that they do not have much curiosity. As soon as there are no shops left they turn back and retrace their steps.
She was very supportive of my project and asked me to keep her updated.
Cultural Institutions
04/08/2021-05/08/2021
I went to various cultural institutions to speak with the staff and understand what was their situation and whether my project could be beneficial to them.
Conclusion:
Although things seem to be picking up, in the wake of Covid museums face a decline in visitors, especially foreigners.
I was surprised to see that some day tourists do take the time to go to the museum, although they are mainly Italian.
Strategic advertisement could help popularise some of the lesser known museums and attract more people instead of always capitalising on the obvious places like the Doge’s palace.
I still believe that although most museums are doing sufficiently well, having some day tourists off the crowded streets could still be beneficial to cultural institutions and to the city. Moreover, they would get a more interesting experience of Venice.
Finally, we will see how these things develop once they have installed the green pass.
The staff communicated that the museum is doing quite well, especially thanks to recent developments that were made, including the recovery of some lost art works. One year ago they were still considered as a minor museum but, although Covid was hard on them, the interest for this particular museum has been growing. This success can also be attributed to smart advertising.
They do have a portion of day tourists that come visit the palace but they are mainly Italians. The rest are people that stay a few nights in the city, some of which are foreigners.
The staff from this museum conveyed that the number of visitors has dramatically decreased since covid. Even before the pandemic it was a relatively quiet museum. They mainly have visitors that stay a few days in the city and no day tourists.
The man that very kindly gave me this information was very happy to talk about the exhibition and I could tell that he does not get very often the opportunity to share his knowledge as visitors are more scarce. Indeed, this idea is reinforced by the fact that many other members of staff were either asleep or reading a newspaper.
This museum’s staff have noticed that although there is a certain movement of people, there are considerably less visitors than before Covid.
As it is located in quite a popular area, they have both day tourists and tourists that lodge. The latter is mainly constituted of Italians and the former of foreigners.
They are waiting to see how the Greenpass (implemented on the 6th of August) will affect museum entries. This has be mentioned by almost all the people I have questioned.
This museum has less people than usual and no longer have a full weak opening but only open a few days a week. The staff member believes it will take years before the cultural institution goes back to normal. He also thinks that the palace should be more publicised in order to attract more people (like the palazzo Grimani).
They do not get day tourists but rather people that who have a specific interest for this palace.
This museum has a very similar profile to Ca’ Rezzonico. They do not get day tourists and their visitors are mainly Italians who know this specific palace. I gather that things are going back to normal, although the staff were not allowed to disclose many details on the state of the museum.
Interviewing tourists on the street:
06/08/2021
I simply walked around Venice asking tourists a series of questions to get a better idea of how I could improve their tourist experience.
The Questions:
Where are you from?
How long is your stay in Venice?
How are you finding Venice so far (positive and negative aspects)
What is an authentic tourist experience fro you?
How would you improve your Venice experience?
Results:
Australian family:
This family were not day tourists but were staying in Venice a couple of days. They were really enjoying their time in Venice although the temperature was a little too hot to their liking. They felt there were not too many tourists around, which they appreciated.
For them, an authentic tourist experience is one that does not include other tourists but them.
A way to improve their experience of the city would be to have better signage as they were struggling to know where the main landmarks were located. One suggested to have some nice arrow stones on the floor pointing the way.
Sicilian couple:
This couple were day tourists. They were finding the city beautiful and similarly to the Australian family, found that the number of tourists was appropriate.
For them, an authentic tourist experience is being able to taste typical food and, again, to experience the location without many other tourists around.
They said that their experience of Venice would improved by wearing more comfortable shoes and by better planning their trip, as they felt they were missing out on some things and were unsure what to do.
Hong Kong visitor:
What he really enjoyed about the city is that no matter which streets you take there is always something interesting to see. There are very few wrong turns to be made. A negative aspect of Venice is that for every unique shop you find there are 5 times more shops that all sell the same low quality items.
For him, an authentic tourist experience is something that allows him to engage with different aspects of the culture, such as meeting locals, festivities, food etc. Sight seeing is not enough.
He would improve his experience by spending more time in Venice so that he could experience what people would not consider tourist activities, but the true and mundane life of the city.
French visitor:
She was absolutely loving Venice finding it very picturesque and full of history. However, just like the Honk Kong visitor, she noticed that there were many shops selling very low quality items.
For her, an authentic tourist experience is visiting an area where the topography has not changed to accommodate tourism.
She would improve her experience by having a better knowledge of the more hidden and quiet areas of the city.
Mexican visitor:
This visitor was a day tourist. Just like all the other visitors, he thought Venice was wonderful. He appreciated its uniqueness and how easy it is to get to. He was a little more weary about what he called the “façade”, a fake display of authenticity, which is very difficult to get away from. This idea reminded me of a text about tourism sociology that I thought particularly enlightening.
“Authenticity is often staged by the hosts who furtively undermine the tourist’s endeavour. Caught in a staged “tourist space” from which there is no exit, modern mass tourists are denied access to the back regions of the host society where genuine authenticity can be found.” (Cohen : 1984)
He also find it quite difficult to find specific pieces of historical information about the city. When I gave him an overview of my project he told me about an app that seemed to explore a similar field. This app is called SmartGuide, where they offer planned tours with geolocated audio descriptions of landmarks. I immediately made a note to research it once I got home.
For him, an authentic tourist experience is having easy access to the history of the host location. His aim would be to learn as much as he possibly can without being treated as a tourist.
Him too, would improve his experience by staying longer in Venice and by doing more research before hand.
*
Challenges:
The temperature was very hot, which I suspect made some people more unwilling to stop. Some visitors were quite rude.
When I heard about the SmartGuide app (mentioned in the section above), I immediately feared I was repeating an already existing concept, which made me really nervous. Once home I searched into it and found out that amongst their panel of options, Venice was one of them. Thankfully, they did not quite have the same approach:
They built a linear tour where the tells you the way, which is the opposite of what I am doing, as I aim to provide a more free and explorative experience where visitors are free to wonder as they please.
The app does not advise you to visit any artisans that one can buy from
It does not show you any museum other than the doge’s palace
I had a look at some of their historical informations and I spotted historical inaccuracies.
Their main tour (the one in blue) is the most mainstream and touristy path of Venice, which I avoid at all cost and focus on the more quiet areas.
They do not explore the Castello sestiere, which is the district I focus on.
Mainly focus on audio, which I do not
They are very recent and still beta testing
SmartGuide website
Conclusion:
There are a few ideas that kept coming up. Interestingly, tourists find that there are not too many people when locals feel quite overwhelmed about the amount of visitors.
I found that much of what the interviewees said reflected my research. For instance, the fact that Venice created a façade for tourists, which will not allow them to walk through, or that dramatically changing the topography of the city to fit tourism is a way to choke authenticity.
Furthermore, most agreed that to them an authentic tourist experience is one that does not involve many other tourists around, in other words, they do not want the mass. This shows that my project could be beneficial to them, as it is the Venice away from the mass that I want to showcase. In addition, many wished they had better planned their trip as they were left unsure as to what to visit. An app like the one I am designing could support visitors who do not have a plan as they would still find out more about the city with minimum effort.
Finally, it was lovely to see that all the interviewees really appreciating the city.
Works cited:
Cohen, E. (1984) ‘The Sociology of Tourism: Approaches, Issues, and Findings’, Annual Review of Sociology, Vol. 10, pp. 373-392.
