With Il giardino
dei passi perduti the dialogue, for the first time, becomes
twofold: on one hand, Peter Eisenman interprets Carlo Scarpa by reading/interpreting
and metaphorically returning to his renovation; on the other, he converses
with the history of the site and with his own, personal history as
an architect.
As in his “Moving Arrows, Eros and Other Errors: Romeo + Juliet”
– a competition project elaborated for the Third International
Architecture Biennale in Venice, in 1985 – as well as on many
other occasions, Eisenman creates situations that imply the layering
of “footprints,” “layers,” and “grids,”
drawing inspiration from the site itself and from its sedimentation.
In his approach to the Veronese castle, and in particular to the Carlo
Scarpa renovation, Peter Eisenman exhibits some of his design ideas
through a re-reading of one of the most significant works by the Venetian
maestro, completed precisely forty years ago. With an attitude of
respectful homage and his passion for the “territorial”
dimension, Eisenman concentrates his design efforts in the garden
and in the rooms of the sculpture galleries, located just behind it.
Eisenman’s installation confirms the close theoretical and formal
relationships between the museum’s interior volumes and the
exterior space. In this way he further explores and develops the correspondence
between inside and outside that Carlo Scarpa himself began with his
unique positioning of the sacello: this element, in fact, physically
constitutes an interior space, but visually represents an exterior
volume that leans against the castle’s façade.
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In Eisenman’s installation, the
five ground-floor rooms of the Galleria are re-proposed outside, with
the same dimensions in plan, thus becoming five outdoor piazze. In
their formal evolution, with their broken, raised, and slanted planes,
these spaces constitute a clear representation of the conceptual principles
on which the vision of the American architect, a founding deconstructivist,
is based. In addition, the intersection of an “Eisenman axis”
with the Scarpa axis represents a sign of the subsequent detachment
and “personalization” on Eisenman’s part with regard
to the motif that inspired the project. The excavation of the piazze
and the intersection of the axes generate a series of corrugations
in the earth, which in turn give rise to gentle dunes, which also
physically mark off the five exterior spaces.
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