The idea behind the exposition is to reform the system of road signs of Venice, a city which is by itself a maze, almost a medina into which it is really easy to lose oneself. The proposal has been immediately accepted by the president of the Consorzio Venezia Nuova, Consortium for a New Venice, Paolo Savona, and by Mario Folin, rector of the IUAV, the faculty of architecture of the University of Venice. This is the theme of the third edition of viverevenezia3, whose more than suitable subtitle is “in the labirinth”. To the project, coordinated by Marco De Michelis and Giovanni Anceschi, took partthree foreign schools, that of Arnhem (Holland), Lausanne (Switzerland) and Brema (Germany), as well as three work groups from the faculty of Arts and Design of the IUAV. The exhibition, showing at Palazzo Fortuny, will be open until 3 October. The first important statement concerning the exposition has been expressed by A. Peres: it goes about the starting phase of some proposals which can be integrated with the observations of those Venetians that hope for a balanced cohabitation with tourists, and with those of the several categories interested in touristic flows. It is therefore an exposition that invites to discussion before shifting to the realization of the project judged as the best one (or to a synthesis of the various projects). The aim of the promoters is to make it possible for the initiative to offer solutions to the present traffic difficulties, interesting not just resident inhabitants, with the “‘trafego de foresti’” (traffic of foreign people), but also tourists, so that they can more easily find the way of their routes. “‘A road signals system is an informative system, and as such gets perfectly into the projects of the Consorzio Venezia Nuova that, thanks to the Mose, gave the city an excellent know how concerning the knowledge of Venice and of the lagoon’”, said Paolo Savona. The Consorzio, that financed this and the previous editions of viverevenezia using some of the earnings of the partner firms, in this case is not a sponsor, but a cultural protagonist. For Mario Folin the project viverevenezia proposes to make the historical centre of Venice an easier place in which to live in, and to fight the decay that Venice is nowadays unfortunately experiencing, and that shows a lack of respect both for its citizens and for tourists, and is also disgraceful towards public opinion and culture worldwide. “‘It is necessary to put in order the chaotic system of signs, to get rid of the noise. And this project, which differently from the other two has the qualifications to become reality, is also an occasion to rediscover the nature of Venice. Indeed, who remembers that Venice is made of a series of sestieri (districts) and of a series of islands?”’ It is thus necessary to begin from the historical data; the various solutions proposed by the exposition considered this data, also in detail, taking as starting point the ninzioleti (a word in Venetian dialect, which translated into Italian means little blankets) or the briciole, crumbs, (as suggests the group of IUAV directed by Enrico Complani together with Sergio Brugiolo). Between the several solutions proposed, there is even the pleasure of getting lost (Giorgio Camuffo of the IUAV). The synthesis of the proposal made by the group directed by Leonardo Sonnoli e Thomas Bisiani (IUAV) is a system of signs with a great visibility. While as to the school of Lausanne, Venice is a group of islands linked the one to the other by means of a thick web of micronets. And the proposal by the Brema group is a woollen ball turning around a fields axis, from which start many coloured threads. Finally, to put order in the too many acoustic signals surrounding us is the aim of the Arnhem school.