The installation adopts the language of the Teatrino scientifico as an operative device, capable of bringing formally heterogeneous elements into relation by tracing them back to a shared conceptual matrix.
Within this device, three elements coexist: the Monument to Sandro Pertini, the Elba Cabin, and a third iconic element from Rossi’s work (for example, the Parigi chair, the model of the Teatro del Mondo, etc.). The spatial configuration is defined by a theater-like grandstand that hosts the audience and establishes a condition of active observation. The viewer is invited to watch what unfolds in front of them—meetings, debates, performances—but also to question what surrounds them, reflecting on the relationship between scale, use, visibility, and the symbolic value of architectural forms.
The project does not aim to literally reference Aldo Rossi or reproduce his work, but rather to operate according to his method, treating form as a critical tool and the stage as a place of verification. It is within this gap between reference and citation that the installation’s neo-scientific character emerges: an explicit yet non-imitative echo that builds coherence through contrast among the elements.
As a consequence of this approach, the project belongs to an autonomous line of research, not included in the promotional programs or institutional activities of the Aldo Rossi Foundation, and developed outside a celebratory or philological framework.
By its nature, the device is not tied to a single context or a specific time frame. It is conceived to adapt to different situations—exhibitions, educational settings, institutional events, or experimental contexts—while preserving its conceptual structure and offering, each time, new possibilities for interpretation and inquiry.
