The facade on Piazza De Ferrari constitutes one of the nodal points of the
project, deeply involving the image of the theatre in the image of the piazza;
the superimposing of different styles on the neoclassical form of the pronaos
would have generated conflicts that would have been hard to resolve on a
formal level. This consideration led us to find Scarpa's "in the style
of" proposal to be convincing (
On the north-east facade, the large glass cascade, inserted between two pinnacles, interacts not only with space in front of it, but above all with the diagonal of Via XXV Aprile; from this point, as we progress around the theatre towards the left, the curved projection of the foyer bar resolved as an out-of-scale open gallery comes into view, followed by the entrance to the Galleria Mazzini with its fountain, the hollows of the theatre's emergency exits, and the strongly protruding lateral wall bearing the image of the theatre painted in colour.
( ) Turning the corner and coming out into Piazza Piccapietra, the rear facade of the stage-well appears as a major architectural element from which emerge the concave-convex volumes of the rehearsal rooms and set-design workshop, placed one on top of the other. ( )
Scarpa's theory is the building as "place of architecture" ( ). However, the building as place of architecture is also the basis for our project, and it links the building to its functions and its referential urban space, graduating the dimension 'of the architecture' in function of the space from which it is perceived. ( )
The decision as to what type of box to build was conditioned not only by the solution to problems associated with visibility and acoustics (which were considered to be the main priority), but also to the revival of their original characteristics that favoured socialisation over privacy"
G. M. Oliveri, from: Ida Maria Botto (editor), Il Teatro Carlo Felice di Genova. Storia e progetti, Sagep Editrice, Genoa, 1986