wohnzimmer bilder venedig
â€œmoin, moinâ€ from the miniatur wunderland for the last episode of bella italia. i am a bit sad, but also really happy, because our venice is finished. and tobi was project leader. how are you feeling? - i am relieved and totally proud, that we built such a cool section. - was there pressure? - at times there was a little pressure, of course. there were also joyful phases, but still i was tense. for me it was the first project this size, of course you feel basic pressure. - yes, but i think you need this pressure; otherwise it wouldn't turn out so great. look at this. in the beginning we said art and beauty.
that is typical for venice, that's what it should be. what did you personally think of this task? - i wanted to translate it into color. you can create many emotions with the color of the houses and the backdrop, like here. it was like painting a picture and not focusing on the architecture alone. instead we wanted to create a painting, into which one can sink emotionally. - well, one can say that after almost two years of construction, there is a story to every building. you could probably write a book about this, right? - we have already looked closely at the distinctive buildings. the piazza di san marco, the procuratie, the basilica di san marco for example, with the palazzo franchetti.
or there,in the back, the gondola builder. as far as i know, the last one left in venice, actually still building gondolas. you can connect emotionally and learn little details. here we have a push button action causing the shelves to fall over like domino. this is because the building next door is the national library. you learn a lot of things. you learn interesting stories and find a way to depict them. did we have to cancel stories, like always, because they couldn't be realized? - we had to cancel a lot. especially a lot of push button actions. - at the beginning of each new section we have a long list of what we want to build and in the end it's mostly not even half
of what was planned. mostly due to space restrictions. well, i tell you, this is really our master piece and next we will talk to michel about the basilica di san marco. the basilica di san marco is venice's poster child. was there jealousy in the team, that you were given this job? - i don't think they were jealous, it is a a pretty challenging job. one has to suffice and the picture has to fit in total. it's a familiar landmark and people know what it looks like. you have to work accurately and on the point. - and this is why they chose you? - i think so. that mustâ€™ve been the reason.
whom should we choose? michel is "our man"! - you don't have a lot of freedom building this, right? if you were to turn the dome upside down it probably wouldn't look so good. yes, i had to stick to basic construction but there still was some leg room for playing around. - don't you want to go wild as a model builder and insert hidden jokes? - you still have to stay inside the picture people have in mind. that is really important, as well as capturing the light as we tried here, to capture a certain time of day. there were other places to play around with. - when we started building venice, did you have an idea what would
be important for you in the building process? did you have a picture in mind? - as we said before, the theme is romance and important are the alleyways and the watercolor image. to get the feeling things are happening here so you can catch the mood or immerse into a scene. - speaking of alleyways... this is something the visitors seem to be doing a lot, now that it's open: looking deep into the alleyways. have you heard feedback on the basilica? - it's hard to hear something. it is always so busy here. it's not easy to distinguish what individuals say about the building.
but i think that will come soon. also, i don't want to intrude here because i am here every day anyways and know everything, i don't want to steal someoneâ€™s place. i don't like doing that. but i am sure that will all come. i personally think the view from here is sensational and the basilica has turned out amazingly perfect, also at night, when it glows. speaking of nights - let's show some images. and then we will talk to kenny how this illumination was made and what was important about it.
and how many lights have been built in. kenny, the illumination here is most prestigious. at night the visitors stand here and dream. they are in awe and love the night most of all. it must be an amazing feeling to be responsible for this. yes, it really is a lot of work, but in the end the result speaks for itself. what is different in venice? have you done something different than in other sections? was it a new challenge? basically yes, because venice is a dark and sparsely lit city. that was our challenge, because normally we make everything bright with a lot of light. it was complicated to get a clean mix done here.
on one hand we wanted to keep the typical character of the wunderland, on the other hand we wanted to do venice justice and we tried to depict the light as realistic as possible. yes, we all, me included, stood here during the first light test and felt it was way too dark. then you showed me pictures, that the real venice is truly very dark. as a tourist you don't really realize that. i think you found a great compromise. do you think so too, or would you have preferred less light? all in all i am happy the first test failed. now we used a simple trick. we illuminated more, almost like we would have done in the other sections as well.
the difference is here, that the individual lights are darker. we still have many individual light points, but they are not as bright in comparison to rome. rome is an extremely bright city with a lot of nightlife. it almost has more night life than day life. if you stand in the exhibition at night and look at both italy sections, rome versus venice, you can see the difference really clearly. that is very important to us. you keep saying "we". how many people were involved in the illumination? roundabout twelve people participated. how long does it take for an average small house?
it takes two days to work on a building like this one here in front. it's insane how much time goes into the illumination! right now we will show you how great it has become at night and then we will have a chat with felix! felix, to me water is a kind of finish; it makes the face of a wunderland section. the water has been here for one and a half months, before then everything was a lot duller. do you think so too? yes, definitely! after the water was put in a lot of tension fell off me. once we had accomplished that step we could finally see something again. you mentioned tension - it was a bit of a struggle to get my favorite color right. i was rather critical and said it had to be kitschier.
you were much more realistic and closer to the pictures. were you annoyed that i wanted to go in that direction or are you satisfied in retrospect? please answer honestly, don't let the camera influence you! i am happy with the outcome. i think we found a good solution. the bigger water areas are more kitschy now, representing the clichã© in people's heads. in the side channels we have the dirty, more realistic water. i am a big fan of kitsch and the visitors often have a different idea of things, than how they are in reality. the best example is the grand canyon, we depicted it in natural realistic colors. the first visitors who saw it said, "that's not the grand canyon! it has to be much redder like it's glowing from sunset."
then we painted it less realistic but the visitors think it looks great and real. i had the feeling it was the same with the water in venice.- definitely, that was the case. did the stench give you a head ache? you were wearing masks, but the smell was terrible. it was okay; it just got really hot under all the protection layers. let's look at the waves; you didn't have much time for these. how did you get them done? we managed with eight people. there was one person for every meter so we got it done. i think we did pretty well. now it is finished. will you miss it, our venice? honestly, not really.
it was very interesting to be a part of building this section, but i miss working with plaster and building rock. oh, okay, i was startled there for a moment. for all who don't know: felix built all the great mountains in the italy section. but next up is monaco, there is not so much landscape in there. yes, but it has a cliff line, i am looking forward to that. this was it. the final episode of "bella italia" has come to an end. next is monaco. we will see whether we will use a similar format for monaco. presumably we will. i hope you'll stay true to the wunderland until then and hopefully you had lots of fun with "bella italia". take care, see you soon, ciao!