A striking new art installation called "Inverse Ruin" has been unveiled at the Archaeological Park of Herakleia in Policoro, Italy, where Belgian architectural duo Gijs Van Vaerenbergh has created a suspended steel framework that traces the original footprint of an ancient Greek temple. The innovative project stands in the quiet expanse of the Vallata Mediana section of the park, where remnants of an Archaic Temple meet the open landscape of the Ionian plain.
The installation was developed as part of "Siris," a broader cultural project curated by STUDIO STUDIO STUDIO under the artistic direction of Antonio Oriente. This ambitious initiative encompasses several artist-specific interventions designed to bring new understanding to a site shaped by thousands of years of layered history. Among these works, Inverse Ruin occupies a distinctive architectural position, characterized by its measured geometry, explicit structural frame, and thoughtful dialogue with the fragmented stone remains scattered across the ground below.
Approaching from the main visitor path, the installation appears as a precise three-dimensional outline lifted directly from the archaeological plan of the original Archaic Temple. The Belgian studio employed a sophisticated system of slim steel members that carefully trace the temple's original footprint while allowing air and light to flow freely through the structure. This transparent, permeable envelope enables visitors to comprehend the ancient temple's true dimensions through a framework that feels both timelessly ancient and remarkably weightless.
Walking beneath the open steel frame creates an immediate and powerful encounter with the archaeological remains below. The crisp metal silhouette stands out dramatically against the sky, while the irregular textures of the ancient stone ruins shift subtly in the changing daylight throughout the day. Each side of the installation strengthens visitors' understanding of the ancient architectural plan, guiding them through a carefully choreographed sequence that follows the geometric logic before dissolving into the surrounding parkland.
The choice of steel as the primary material deliberately heightens the relationship between permanence and change that defines the site. The slim steel sections form a delicate lattice structure that meets the terrain with carefully planned footings, specifically designed to avoid any disturbance to the sensitive archaeological ground. This approach directly reflects the guiding principles of the Siris project, which emphasizes reversible, low-impact interventions that maintain the complete integrity of the archaeological field.
Viewed from a distance, the stark contrast between the ordered geometric frame and the scattered ancient stones makes each historical element clearer and more comprehensible to visitors. The metal framework appears almost chromatic under certain lighting conditions, shifting from cool to warm tones as the sun moves across the site throughout the day. The installation successfully bridges the gap between the temple's past architectural form and its present ruined condition by reconstructing only the essential structural lines of the original building.
The absence of walls transforms the entire volume into what can be described as a walk-through architectural drawing, where spatial memory becomes physically navigable for contemporary visitors. Each corner of the steel framework aligns precisely with corresponding points on the archaeological plan, enabling visitors to sense the true scale and grandeur of the ancient structure through the rhythmic spacing of the modern steel frame.
The Siris project positions Inverse Ruin as a crucial component of a broader interpretive strategy for the Archaeological Park of Herakleia. Working alongside installations by artists Selva Aparicio and Max Magaldi, each responding to different aspects of the ancient sanctuary landscape, the Belgian duo's contribution specifically addresses the architectural legacy of the Archaic Temple through a distinctly contemporary spatial reading. The entire project was commissioned by the Italian Ministry of Culture and developed through extensive research, detailed site surveys, and ongoing dialogue with local cultural and archaeological authorities.
Within this comprehensive framework, Gijs Van Vaerenbergh's contribution demonstrates how a precisely calibrated architectural gesture can successfully recreate and illuminate the spatial relationships between ancient fragments. Light and air move freely through the steel outline of the ancient volume, while the structure carefully aligns with the natural terrain and keeps the original stone remains visible and accessible from every angle, creating a unique dialogue between past and present that enhances understanding of this remarkable archaeological site.
