However, something stranger is happening. The bridge is eccentric; its crest is called out by an elliptical pin joint, the campo elevation clearly higher than our destination. Scarpa has subtly undercut this difference by eliding the connection of stone to steel, pulling up the campo border with Istrian steps rather than cleanly breaking to steel at the campo. The destination is stranger still: it is a window (not a door) through a wall (which is disintegrating) into what is clearly the basement of the palazzo. And the window frame, which we slam up againts, has a double door in it. These doors reintroduce steel, but in a different guise: cold, heavy, rusted stock is woven and grommeted with a penal vengeance. The door pinch us, yank us inward, and clang shut. With this sudden acceleration of effects, we are inside.
by Michael Cadwell,