Paula Deitz

Unlike architecture, which requires solidity to provide shelter over time regardless of style, landscaped gardens are ephemeral by nature. They may possess a degree of flamboyancy and fantasy expressive of the philosophical tone of their times and their creators without concerns for function. This is particularly true among the rolling hills of southwest Scotland, where in Portrack, just north of Dumfries near the English border, Charles Jencks, the American theorist, architect, and (increasingly) landscape architect, and his late wife, Maggie Keswick, created a 30-acre garden on a family estate that engages both the mind and the senses. Known as the

After landing at the dock and walking through the parklike serenity of this walled island, you finally catch a view of the cinema, a pavilion with the same oval rondeur, says the artist, as the great Fenice Theater. Though it functions as a theater showing documentary films and holds an audience of 35 to 40 on its stepped rows of square seats, the pavilion retains a special intimacy and scale that make viewers feel they are entering an architectural model itself. On the outside, Putrih assembled a seemingly random (though actually precise) criss-cross installation of rusted trusswork bolted into place.

In the catalog for Antony Gormley’s recent exhibition, Blind Light, at the Hayward Gallery in London, the curator Jacky Klein cites Brancusi’s dictum that “architecture is inhabited sculpture.” But since the onset of the Constructivist movement in Russia in the early 20th century, sculpture itself has become architectonic and inhabited, if not physically, then mentally, in the seductive manner that the imagination allows the viewer to experience its interiority.' Photography: © Michele Lamanna/Courtesy the artist and Max Protetch Gallery For the Venice Art Biennale in 2007, Putrih created Venice, Atmospheric (above two), which recalls old movie palaces. Not satisfied merely