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Acqua alta

venezia_acqua_alta

The siren sounded a bit before sunrise. . . a long, piercing alert, followed by a series of slowly articulated, musical ululations. Then the quiet slosh of the first vaporetto docking and departing as usual across the canal. I had been lying awake for a while, having seen the acqua alta warning the day before. Acqua alta, high water, refers to monster tides that cause flooding all around the northern Adriatic, but most famously in Venice. Between autumn and spring, the high tides can combine disastrously with the sirocco and the local “bora” winds and the oscillating waters of the long, narrow rectangle of the Adriatic Sea.

As the foundations of most Venetian buildings have been brining in the depths of the lagoon for centuries, the natives regularly take certain minimal precautionary measures.  Passerelle planks are neatly stacked, ready to be laid out across flooded expanses in Piazza San Marco and other low-lying parts of the city. In our neighborhood, Cannaregio, ten metal supports for the passerelle were stolen, for what market it is hard to imagine. Tall rubber boots are ready by the door of our attic apartment, lent by our kind landlords, but they are too small for our big American feet.

The first real autumn rain brought only moderate acqua alta in Venice. But in Tuscany the deluge submerged Massa and Carrara, below those white-veined mountains where ancient Romans, Michelangelo Buonarroti, and rich Americans and Arabs, have found an unending supply of white marble to bedeck their temples and mosques, mansions and museums.

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Quarry labor was always hard and poorly paid, fueling rebellions among the workers.  By the end of the 19th century, Carrara was called the cradle of anarchism. These days the flooded residents seem to be demanding some responsible governmental action, no small order in 21st century Italy.  A dear friend, an art historian who helped salvage Florentine art after the great flood of November 1966, observed sadly that Tuscans have never understood how to deal with water. The Venetians, too, were underwater in 1966; their efforts to curb the tides have a higher profile because Venice is more obviously fragile than stony Florence.

The huge MOSE project (MOdulo Sperimentale Elettromeccanico) is supposed to protect Venice and the lagoon against flooding. Note the acronym’s cunning allusion to the Hebrew patriarch who parted the Red Sea.  MOSE consists of 78 mobile underwater barrier gates that rise during high tides to isolate the Venetian Lagoon from the Adriatic Sea. Approved by the Comitatone (Big Committee) in 2003 with a budget of some 7 billion euros, MOSE has so far successfully tested only four of the gates.

Meanwhile, in June 2014, the mayor of Venice and 35 other “public servants” were charged with misuse of billions of the MOSE funds. The arrest of the mayor of Venice was international news, and even amid the flamboyant excesses of Italian politics, the level of corruption is spectacular.

The scandal provided local color following the opening of the 2014 Biennale of architecture, which was set partly in the Arsenale, the former Venetian shipyards, first mentioned in 1104. “Arsenale” comes from the Arabic “darsena” or workshop, and there were naval arsenals already in the seventh and eighth centuries along coasts from North Africa to Arab Sicily and the southern Mediterranean. But for some four centuries, the fleets built in the Venetian Arsenale ruled the waves in war and commerce.

Venice hasn’t been actively at war for some three hundred years. The grand buildings of the Arsenale now house a splendid naval museum as well as splashy international expositions like the architecture Biennale, part of which occupies the Corderie, a vast columned hall built in the 16th century, where miles of ropes were made for the ships in production.

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The Biennale exhibits were remarkably free of military or imperial connections, except of course for those involving the guilt, implicit or acknowledged, of modern colonial powers. Silvio Berlusconi’s melodramatic apology to Libya for decades of Italian abuse is memorialized next to videos showing footage of the most recent exploitation of Libyan oil.

On the Arsenale embankment is a recumbent classical column that is connected with the Biennale’s Albanian exhibit. A documentary by Albanian exile artist Adrian Paci shows the quarrying of the marble block in China, its loading onto a freighter, and to cut costs, three Chinese carvers working the marble en route on the high seas.  Paci thus addresses what we might call the downside of global trade and labor.

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During the Second World War, the shipyards in Richmond, California, were the most efficient and productive of any in the country.  Huge buildings, on the same scale as the Venetian Arsenale, enclosed the assembly lines which had been pioneered by early Venetian shipbuilders.  In Venice the workers, the arsenalotti, were respected and paid well.   The Richmond shipyards employed tens of thousands of unskilled laborers fleeing the depressed South. Rosie the Riveter was a familiar icon of the spunky female worker.

The docks and warehouses now house restaurants & theaters and light industry. An Italian restaurant, Salute e Vita, in a Cape Cod Victorian said to have been the Richmond harbormaster’s house, is now owned by  a beautiful woman born Ethiopia and raised in Rome in a family of restaurateurs. Menbere-Aklilu

Menbe now dispenses Thanksgiving charity to the hoi polloi of the real city of Richmond, many of whose grandparents came from the depressed South to work in the wartime shipyards.

Richmond now has the highest rates of unemployment and violent crime of any city in the Bay Area except Oakland.  Property values were so low that developers could profitably produce a town-house development along the waterfront and even offer some public amenities, little beaches and a smart interactive memorial to Rosie the Riveter.

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In Venice, every year after 1177, the doge sailed out into the lagoon on a seriously over-decorated ship called the Bucintoro, and tossed a ring into the waves to symbolize Venice’s wedding with the sea. After Napoleon had carried off the Lion and Horses of St. Mark and the choicest artworks in the city, the French set the last Bucintoro afire where all in the city could see it burn, on the island of San Giorgio Maggiore. And there the canny French sieved the ashes to save the gold.

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Some years ago Colonel Giorgio Paterno proposed to recreate the festive Venetian Bucintoro that was destroyed in 1798. Colonel Paterno, the head of Fondazione Bucintoro, said in March 2008: “[We will] build it as fast as we can but we’re not in a hurry. It is intended that the project will make use of traditional shipbuilding techniques and original materials…and will reproduce the gold decorations.”

The foundation wrote to then-French-President Nicolas Sarkozy to ask for a financial contribution as a goodwill gesture in view of the Napoleonic vandalism. Just this year, no thanks to Sarkozy, the French pledged to contribute six hundred oak trees from the forests of Aquitaine surrounding the city of Bordeaux. Meanwhile, alas, as Paterno said, “Invaded by so many million tourists, the city risks losing its identity, losing its cultural connection with its own history.”

There is also the escalating risk that Venice will lose its historical and cultural identity not through tourism but under the invasive tides of the Adriatic. The earliest acqua alta, in 579, was reported two hundred years later by Paul the Deacon, a Benedictine monk-historian.  The event, known onomatopoetically as the Rotta della Cucca, was a calamitous rupture of river banks in the Veneto. This collates with variously reported global climate changes in 536-538, confirmed by tree-ring chronology. The probable cause was a volcanic event that created a dust ring around the planet, darkening the sun and aborting harvests. The ensuing famines and civil unrest could explain many gloomy global developments, from the sudden decline of Teotihuacan to the Plague of Justinian, and the westward Mongol invasions.  In fact, this catastrophe theory, advanced by journalist David Keys, was so expansively interesting that it was quickly discredited by qualified academics—but  not before public television documentaries that you might have missed, as I did.

Catastrophe theories aside, it must be conceded that recent western technology, no matter how advanced in nuclear weaponry, domestic espionage, craft beer, and social networking, has not been able to resolve drought issues in Africa, Brazil, Ukraine, or California.

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In October 2010, at the edge of the Assad reservoir in northern Syria, we shared a picnic—lots of mezze & pastries—provided by our genial driver. Abu Hani was a Palestinian refugee, a survivor, having lived alone for several years while teaching math in Saudi Arabian middle schools in order to finance his household in secular Damascus. His wife would not live in Saudi Arabia.  We haven’t heard from Abu Hani for almost four years now.

This might be a place to share the information that in Saudi Arabia, our staunch ally in the noble fight against Islamic State barbarism, there were 79 public beheadings in 2013.

The Assad reservoir is near the town of Raqqa, now controlled by the Islamic State, which sometimes prefers to bill itself as the more historically resonant Islamic Caliphate. A recent account of the consumption habits of the Caliphate’s soldiers found western products such as Pringles, Snickers, and Red Bull absorbing much of their $3 daily food allowance. Not mentioned was their appreciation of American brands of machine guns and tanks that they have confiscated from various Syrian rebel groups, “vetted” or not.

Returning to Venice from Florence one day in November, I paged through an international paper. The top story was Obama in China. That night Italian TV showed Obama, lean and elegant in a mandarin jacket, coolly chewing a piece of gum as he strode across a stage to shake hands with President Xi.  ochina

Maybe it was later that same night that the Italian Marco Polo (played by the impressive Marco Paolini) appeared onscreen. In any case, all this tended to eclipse an interesting op-ed on the historic drought in Isfahan. The writer suggested that western help in dealing with the drought problem could improve relations with Iran, where, as (almost) everyone knows, Isfahan is located.

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Isfahan, visited by Marco Polo in 1330, was a Persian capital known for its beautiful boulevards, covered bridges, palaces, mosques, and minarets. But, way of the world, in 1722 it was sacked by Afghan invaders and the capital was moved to Tehran. Today Isfahan still produces carpets and textiles, but also steel.  It has a major oil refinery and “experimental” nuclear reactors, as well as the largest shopping-mall-with-a-museum in the world (not to mention a top-notch chamber of commerce).  But cosmopolitan twenty-first-century Isfahan is now suffering from an 80-year drought.

When Venice was a major commercial center, expediting goods along the route to Isfahan and other Silk Road depots, the Dogana da Mar, the Customs House of Venice, controlled access to the Grand Canal and the San Marco docks.

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In 2007 Japanese architect Tadao Ando began a wonderful renovation of the space for use as a museum. “This building has been floating on the water since the 15th century, and my intention is to see it float into the future; it is a very old building and it was very difficult to study its history so as to preserve its original structure and innovate toward the future.”  Since the extant building was actually built in 1677, one doesn’t feel that Ando’s creativity has been much hampered by his study of its history.

Meanwhile, the modest hydrographic station on the Punta della Dogana (the Doge’s Nose) still sends information to the Centro della Marea (Tide Center), which warns the citizens of coming inundations.   Stazioneidro.

One morning after our return to Berkeley, I looked out the window. The California drought was breaking in a big way and our street had become a flowing canal.  There was a flash flood warning online, but a silent one.

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