TRIPTA, KAYENAT, KHUSHBOO, FEROZE ALAM.

MODERN ARCHITECT(HISTORY OF ARACHITECTURE-II)

(1906-1978) 

‘A MASTER WHO WORKED IN SILENCE’

• CARLO ALBERTO SCARPA WAS BORN IN VENICE, ON 2ND JUNE, 1906.

• HIS FATHER, ANTONIO SCARPA, A STRICT CATHOLIC WAS THE ELEMENTARY SCHOOL TEACHER.

• HIS MOTHER EMMA NOVELLO WAS A DRESSMAKER.

• HIS FAMILY MOVED TO VICENZA WHEN HE WAS 2 YEARS OLD.

• AFTER FINISHING ELEMENTARY SCHOOL, HE ENTERED THE TECHNICAL HIGH SCHOOL IN VICENZA.

• IN 1919 AFTER HIS MOTHER’S DEATH THEY RETURNED TO VENICE.

• IN THE SAME YEAR HE ENROLLED IN THE ACCADEMIA DELLE BELLE ARTI SPECIALISING IN ARCHITECTURAL DESIGN.

• HE DIED ON 28TH NOV 1978 IN SENDIA , JAPAN.

INTRODUCTION

ABOUT HIS DESIGN

• HIS WORK IS ALIVE WITH JOYOUS RAPPORT WITH PAST AND PRESENT.

• INCORPORATED HISTORY AND TRADITION IN ARCHITECTURE.

• LOGICAL AND RATIONAL CREATIONS WHICH MEETS FUNCTIONAL REQUIREMENTS.

• USED PROPORTION AND GEOMETRY AND MANIPULATED MATERIALS, COLOURS AND LIGHT.

• AIM WAS CREATING FORMS WHICH COMMUNICATE POETIC CONTENT , SPIRIT OF ITS CREATOR AND THE SOCIETY IN WHICH HE LIVED.

• HIS WORK IS TRANSCENDENT BECAUSE OF ITS REMARKABLE CONSISTENCY.

The Castelvecchio Museum is located in the eponymus castle, built between 14TH – 15TH century.

The museum was restored by Carlo Scarpa, one of the leading italian architects of the 20TH century. Between 1959 and 1973 Scarpa, with his unique architectural style, enhanced both the appearance of the building and the exhibits. 

One of the main museums in town, it displays a wide collection of statues, sculptures, objects. Paintings include masterpieces of Mantegna, Bellini, Pisanello.

MUSEO DI CASTELVECCHIO, VERONA, 1957-64, VIEW OF SCULPTURE GALLERIES

MUSEO DI CASTELVECCHIO, VERONA, 1957-64, VIEW OF EQUESTRIAN STATUE OF CANGRANDE

MUSEO DI CASTELVECCHIO, VERONA, 1957-64, SFALSATA

Dan Hill at City of Sound reminds us of Carlo Scarpa’s incredible private cemetery (he’s buried in the grounds) was built for the Brion family at San Vito d’Altivole, Italy, and completed in 1978. This construction and other Scarpa buildings often come to mind after encountering some disastrous use of concrete in architecture. Scarpa, like Frank Lloyd Wright, shows how well that meanest of building materials could be used with the application of care and imagination. And Scarpa, like Wright, also favoured attention to detail, with the cemetery providing copious examples of this, notably the motif of a pair of interlaced circles which feature as a prominent window design and recur in tiny elements elsewhere.

The Brion Tomb (1969–78) is a private tomb – "a city of the dead" – for the Brion family near Treviso, Italy. For the Brion Tomb, Scarpa established a new landscape within an old one, constructed a complex narrative out of startlingly fresh free-standing forms, and explored radical design and construction techniques to effect them.

BRION CEMETERY COMPLEX, SAN VITO DI ALTIVOLE (TREVISO), 1970-78

BRION CEMETERY COMPLEX, SAN VITO DI ALTIVOLE (TREVISO), 1970-78

BRION CEMETERY COMPLEX, SAN VITO DI ALTIVOLE (TREVISO), 1970-78

….The place for the dead is a garden….I wanted to show some ways in which you could approach death in a social and civic way; and further what meaning there was in death, in the ephemerality of life—other than these shoe-boxes.” Carlo Scarpa

BRION CEMETERY COMPLEX, SAN VITO DI ALTIVOLE (TREVISO), 1970-78

A COIL THAT PROVIDES TENSION FOR THE CABLES IN

A DRAIN FOR WATER UNDER THE PRIMARY TOMB.

THIS TRANSFERS THE CABLE THROUGH THE WALL.

IT KEEPS THE CONCRETE CORNER FROM ERODING

PART OF A LOW FENCE TO STOP CHILDREN FROM FALLING IN THE FISH

POND.

THIS CONSTELLATION OF CABLES CARRIES THE COUNTERWEIGHT FOR A DOOR THAT SLIDES UP AND DOWN ON THE OTHER SIDE OF THIS WALL.

PORTAL

SOME INTERIORS DONE BY CARLO SCARPA

BPV BUILDING

BPV BUILDING

MUSEO DI CASTELVECCHIO, VERONA, 1957-64, VIEW OF EQUESTRIAN STATUE OF CANGRANDE

BIENNALE BIENNALE

VILLA OTTOLENGHI , BARDOLINO , ITALIA , 1975 .

OLIVETTI

Dan Hill at City of Sound reminds us of Carlo Scarpa’s incredible private cemetery (he’s buried in the grounds) was built for the Brion family at San Vito d’Altivole, Italy, and completed in 1978. This construction and other Scarpa buildings often come to mind after encountering some disastrous use of concrete in architecture. Scarpa, like Frank Lloyd Wright, shows how well that meanest of building materials could be used with the application of care and imagination. And Scarpa, like Wright, also favoured attention to detail, with the cemetery providing copious examples of this, notably the motif of a pair of interlaced circles which feature as a prominent window design and recur in tiny elements elsewhere.

Carlo Scarpa's Syneasthetic drawing for the design of Frank Lloyd Wright's exhibition at XII Triennale di Milano 1960, sectional study of the ceiling and illumination.

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