The fourth bridge over the Grand Canal, “Ponte della Costituzione”, was built over a period of five years (2003 - 2008) after a project of Spanish architect Santiago Calatrava (94 m. long, 9,38 m. wide in the central part, 7,05 m. maximum height, 420 tons is the weight of the iron structure). In 1999 Venice municipality asked Calatrava to start working on the project of the bridge, since its conception the bridge has caused many controversies that continue even after the discrete inauguration of the building that took place a few days ago. The “Ponte della Costituzione” (Constitution Bridge) should be called the “Dispute bridge”, since public opinion is divided between those who believe in the great value and use of the structure and those who think that it is unnecessary, too expensive and in clear opposition to the architectural characteristics of the historical city. Nowadays all major cities worldwide are ready for anything in order to have realized on their territory building signed by famous architects. Most likely the same building by Calatrava in another city would have been accepted with more enthusiasm and less controversies.

But this didn’t happen in Venice, as major Massimo Cacciari knows very well. He complains: “self-damage is a typical behaviour of Venice”. According to the major those who are against the bridge are not able to understand the incredible value of the building, one of the most significant examples of contemporary architecture built in Italy over the last decades. The new building is also important in order to improve Venice’s image. It can demonstrate that the city is open to innovation. Contemporary artistic and architectural experiences should be considered as a chance to evolve, to experience with new languages and styles, and not as a possible crisis. Santiago Calatrava expresses the same concept in a recent article published on El Pais, he wrote: “modernity is important, every artistic age is the development of the previous one, as Baroque for the Renaissance”. In the same article Calatrava states that the bridge tries to combine tradition and innovation, through the juxtaposition of different materials such as stone and copper, referring to the past, and glass (in the parapet and in the stairs) as a reference to the present. Councillor Mara Rumiz shares the same opinion, she suggests that those who see the bridge as a useless and harmful work for Venice, should consider with more attention what is taking place around the bridge. She refers to the People Mover project and the ferry terminal and Santa Lucia train station’s requalification. The councillor is convinced that by looking at the “big picture” it will be easier to understand the meaning of Santiago Calatrava’s project.

Leaving aside the different opinions that have been expressed over the construction of the bridge, the real hurdle to overcome in order to really appreciate the value and beauty of Calatrava’s bridge is the awful sight at its feet, namely Piazzale Roma square. The preciousness of the new building is in great contrast with the unadorned and unorganised square. Now more then ever Piazzale Roma can’t afford ito look like any other mall’s parking lot. As for the fourth bridge in the Grand Canal the municipality should be bold and implement a new ambitious project able to turn this vital city node in a more functional, welcoming and spectacular place. It is necessary to cover the gap still existing between the architectural quality and beauty of many areas on the historical centre and the unpleasantness of spaces like Piazzale Roma. Seen from this perspective contemporary creation will be able to play a more and more important role in the development of Venice’s historical centre.