Gages von Wernberg suspended the temple, the temple remains in Italy

Gages von Wernberg’s intervention in southern Italy

By inverse destruction Gages von Wernberg Standing in the Archaeological Park of Heraclea in Palakuru, Italy A tranquil expanse where archeological temple traces meet the open landscape of the Ionian plain. Produced as part of the wider Project Ceres, designed by Studio Studio Studio with artistic direction by Antonio Oriente, the installation forms one of several interventions aimed at bringing clarity to a site through layered histories.

Set within the so-called Valta Mediana of the park, the work introduces a temporary structure that aligns itself with the ground conditions and the scattered archeology around it. Ceres pervades the park through artist-specific works, although the upside-down ruin occupies a distinct architectural register: a measured geometry, a clear frame, and a dialogue with the rugged. stone Remains at his feet

Images © Roberto Conte

A steel frame suspends the waste in reverse

Approached by a central passage, Gages von Wernberg’s inverted ruin appears as an exact volume from the archaic temple plan. Belgium Studio Worked with a system of steel members that trace the original impression while allowing air and light to carry the form. The clear, solid envelope thus allows visitors to perceive the dimensions of the temple through a structure that feels ancient and weighty.

Walking under the open frame directly confronts the archaeological remains. The steel offers a crisp silhouette against the sky, while the ruins below have irregular textures that change dramatically in changing daylight. Every aspect of the installation reinforces the potential of the ancient plan, and guides visitors through a setting that follows the geometry before blending into the surrounding park.

Inverted Ruin traces the archeological temple motifs through a precise steel frame

Low impact mesh

Material selection enhances the relationship between stability and change. The thin steel sections form a lattice that meets the terrain with careful steps, avoiding disturbing the ground. This approach reflects Ceres’ guiding principles, which emphasize reversible, low-impact interventions that maintain the integrity of the archaeological field.

Seen from a distance, the contrast between the ordered frame and the scattered stones accentuates each element. The metal lines appear almost chromatic in certain conditions, moving from cool to warm as the sun moves across the site.

The reverse ruin bridges the gap between the past form and the present state by reconstructing only the essential lines of the temple. The absence of walls turns the volume into a walk-through drawing, where spatial memory becomes physically actionable. Each corner corresponds to the corresponding point of the archaeological plan, and enables visitors to understand the scale of the ancient structure through the rhythm of the steel frame.

Gages von Wernberg’s installation brings new clarity to the archaeological project

As part of a wider interpretive strategy for the archaeological park of Heraclea, Ceres excavated the ruins of Alta. Alongside works by Selva Aparicio and Max Magali – each responding to a different aspect of the sanctuary landscape – the duo’s installation addresses the architectural legacy of the archaeological temple through a contemporary spatial reading. The project was initiated by the Italian Ministry of Culture and was shaped by structured research, site surveys, and dialogue with local contexts.

Within this framework, Gages van Wernberg’s contribution highlights how such precise architectural cues can create relationships between ancient fragments.

Light and air move freely through the steel outline of the ancient volume