Below_ Ruskin and the Gavagrins duelling evocatively in the British Pavilion Right_ The Netherlands’ pavilion with city model floating in mid-air


Here during the press vernissage, Castello’s streets and gardens are transformed into a supercharged summer fete. Yet through the Gavagrins’ prism of black and white camera vérité, the same locale is depicted as a place of decay and abandonment, a mouldering banquet served up for tourists. Augmenting this subtle urban examination devised by Venice-based artist and philosopher Wolfgang Scheppe was an inhabitable scale model of part of the 2012 Olympic Stadium. Built by local carpenters and wedged into its space like a modern Teatro Olimpico, this will be used for drawing workshops during the Biennale (see page 88). There was also a suite devoted to the lagoon and its ecology, replete with aquaria and stuffed


birds. Both these sections were freighted with earnest notions of pedagogy, outreach and legacy, which though estimable in their own right, seemed slightly at odds with


the more dreamlike atmosphere of the Ruskin/Gavagrin rooms. Bridging generations, methods of recording (hand drawing and the camera) and ways of seeing, this dialogue across history was an elegiac paean to memory and place; specifically, how buildings are embedded with layers of memory and meaning, and how a sense of place is physically and experientially transmuted over time. Catherine Slessor


The Architectural Review / October 2010 / Marginalia 095


PAUL RAFTERY


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