Abstract
The study investigates the theoretical approach toward the restoration of the Fondazione Querini Stampalia in Venice by Carlo Scarpa, moving between phenomenology and ontology of space, time, and matter, theory of text/narrative, cultural analysis, and arts (architecture and painting). The main hypothesis of the study is that Carlo Scarpa, using the techniques of stratification, destratification, and restratification, transgresses the three classical principles of conservation/restoration: the principle of reversibility, universality and objective truth. In other words, stratification (and the accompanying de/re-stratification) for Carlo Scarpa is not only a method of constructing space interested only in scientific forms of knowledge and dis- covering the objective truth of a building, but, above all, an aesthetic and embodied procedure that takes the role of the sensory and bodily evocation of the tradition and culture of Venice in the present. From the classical restoration interest “for the object”, Carlo Scarpa moves on to the interest “for the subject” (users of the space of this building). In the historical, philo- sophical, and theoretical context, the study refers to the research of Gilles Deleuze and Félix Guattari, Richard Murphy, Anne-Catrin Schultz, and Salvador Muñoz Viñas.
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