It’s called Ponte della Costituzione, the fourth footbridge over Venice’s Grand Canal. The glass and steel structure has caused nothing but headaches—and some muscle aches—for tourists, Venetians and the officials who run their city.
When Venice commissioned an architect to build the new bridge in the late 1990s, the job went to Santiago Calatrava. Named by Time magazine to the Time 100, one of the hundred most influential people in 2005, Calatrava has chalked up dozens of awards and honorary doctorates. His celebrated projects range from the World Trade Center Transportation Hub in New York City to the Museum of Tomorrow in Rio de Janeiro, Brazil. And the New York Times calls Calatrava a “star architect.”
The problem is that the Zurich, Switzerland based architect apparently failed to adequately consider practicalities impacting Venetians who cross the bridge regularly and tourists who cross when visiting one of Italy’s most visited cities. For starters, the bridge lacks disabled access. Also, the glass floor has caused many people to slip and fall. According to a story in Architectural Digest, some Venetians have cracked their chins and foreheads and others have reportedly broken bones. City officials have told media outlets that injuries occur almost daily.
Because too many injured pedestrians have sued the City of Venice over the multimillion dollar bridge, the city has decided to allocate more than half a million dollars to replace the glass with trachyte stone. This expense comes after a failed 1.5 million Euro modification to install a cable car so that people could cross the bridge without injury.
What has caused heartache, bone ache, lawsuits and wasted taxpayer dollars is star culture. Rather than designing a bridge for the practical needs of tourists and others who regularly cross the canal, Calatrava was apparently too focused on capturing and representing Venice’s “embrace of modernity” as the New York Times puts it. Rome’s Court of Auditors found that Calatrava was negligent in failing to account for the number of tourists dragging their bags across the bridge. Calatrava argued that bag dragging constitutes “incorrect use.”
Stars tend to get swept up by things like symbolism, messaging and virtue signaling. Collaborative architects seek input from people who will use the structure they’re designing. In The Bounty Effect: 7 Steps to The Culture of Collaboration®, I describe how architect Renzo Piano made no sales presentation but rather pulled ideas from his clients in collaboratively conceptualizing and designing the California Academy of Sciences in San Francisco.
Undoubtedly, Calatrava has chalked up major accomplishments, but accomplished professionals run the risk of buying their own hype. When people are made to believe they can do no wrong, they often make decisions in a vacuum and may work without adequate input from others. This feeds star culture for which the media has an insatiable appetite. Yet we must resist the temptation, because star culture sucks value out of companies, governments and communities.
