Carlo Scarpa (June 2, 1906 November 28, 1978), was an Italian architect, in luence! b" the materials, lan!

!sca#e, an! the histor" o $enetian culture, an! Ja#an%&1' (car#a was also a )lass an! urniture !esi)ner o note% *io)ra#h" (car#a was born in $enice% +uch o his earl" chil!hoo! was s#ent in $icen,a, where his amil" relocate! when he was 2 "ears ol!% - ter his mother.s !eath when he was 1/, he, his ather an! brother move! bac0 to $enice% 1arlo atten!e! the -ca!em" o 2ine -rts where he ocuse! on architectural stu!ies% 3ra!uate! rom the -cca!emia in $enice, with the title o 4ro essor o -rchitecture, he a##rentice! with the architect 2rancesco 5inal!o% (car#a marrie! 5inal!o.s niece, Nini 6a,,ari (7norina 6a,,ari)% 8owever, (car#a re use! to sit the pro forma #ro essional e9am a!ministrate! b" the Italian 3overnment a ter :orl! :ar II% -s a conse;uence, he was not #ermitte! to #ractice architecture without associatin) with an architect% 8ence, those who wor0e! with him, his clients, associates, cra ts#ersons, calle! him <4ro essor<, rather than <architect<% 8is architecture is !ee#l" sensitive to the chan)es o time, rom seasons to histor", roote! in a sensuous material ima)ination% 8e was +ario *otta.s thesis a!viser alon) with 3iuse##e +a,,ariol= the latter was the >irector o the 2on!a,ione ?uerini (tam#alia when (car#a com#lete! his renovation an! )ar!en or that institution% (car#a tau)ht !rawin) an! Interior >ecoration at the Istituto universitario !i architettura !i $ene,ia rom the late 19@0s until his !eath% :hile most o his built wor0 is locate! in the $eneto, he ma!e !esi)ns o lan!sca#es, )ar!ens, an! buil!in)s, or other re)ions o Ital" as well as 1ana!a, the Anite! (tates, (au!i -rabia, 2rance an! (wit,erlan!% 8is name has 11 letters an! this is use! re#eate!l" in his architecture%&2' 7ne o his last #roBects, le t incom#lete at the time o his !eath, was recentl" altere! (7ctober 2006) b" his son CobiaD the $illa 4ala,,etto in +onselice% Chis wor0 is one o (car#a.s most ambitious lan!sca#e an! )ar!en #roBects, the *rion (anctuar"notwithstan!in)% It was e9ecute! or -l!o *usinaro, the re#resentative or 1assina who is res#onsible or (car#a.s irst tri# to Ja#an% -l!o *usinaro !ie! in -u)ust 2006, a ew months be ore the com#letion o

the new stair at the $illa 4ala,,etto, built to commemorate (car#a.s centenar"% In 1978, while in (en!ai, Ja#an, (car#a !ie! a ter allin) !own a li)ht o concrete stairs% 8e survive! or ten !a"s in a hos#ital be ore succumbin) to the inBuries o his all% 8e is burie! stan!in) u# an! wra##e! in linen sheets in the st"le o a me!ieval 0ni)ht, in an isolate! e9terior corner o his 6E sha#e! *rion 1emeter" at (an $ito !.-ltivole in the $eneto% In 198@, the Italian com#oser 6ui)i Nono !e!icate! him the com#osition or orchestra to microEintervals A Carlo Scarpa, Architetto, Ai suoi infiniti possibili%

B I O G R A P H Y*

Carlo Scarpa was born in 1906 in Venezia, Italy. In 1922-24 he be an his !irst pro"ects as a collaborator in the o!!ice o! #rchitect V. $inal%o an% in 1926 obtaine% his %iplo&a o! 'ro!essor in #rchitect(ral )rawin at the $oyal #ca%e&y o! *ine #rt in Venice. +e then be an his career at the $oyal S(perior Instit(te o! #rchitect(re o! Venice ,s(ccessi-ely #rchitect(ral Instit(te o! Venice .ni-ersity/ as assistant to 'ro!. 0. Cirilli. +e possesse% an e1ceptional (n%erstan%in o! raw &aterials, an% !ro& 1922 to 1943, was artistic %irector o! Venini - one o! the &ost pro&inent pro%(cers o! Venetian lass be!ore he be an the p(rs(it o! his career as an architect. )(rin the years 1944-64 he a-e ann(al lessons to *(lbri ht scholarship hol%ers in $o&e. In 1946 he won the 5ational 6li-etti #war% !or #rchitect(re an% in 1962 the I5-#$C+ 5ational #war% !or #rchitect(re !or the Castel-ecchio 7(se(& o! Verona. In 1932 he beca&e the )irector o! the #rchitect(ral Instit(te o! Venice .ni-ersity. Carlo Scarpa by *rancesco %al Co* In &o(ntin his 8attac98 on the o(twar% si ns o! architect(ral habit, Scarpa en%in (p by %esi nin wor9s &eant to el(%e ti&e, !a-o(rin the -i-i% colo(rs o! the past abo-e the %(ll rey o! the !(t(re. +e achie-e% the &at(rity o! this approach a!ter a len thy apprenticeship, wor9in slowly an% ca(tio(sly. +is tr(e yo(th, !or this reason, was irre&e%iably belate%. Scarpa8s pro"ects constit(te so &any e1peri&ents. In the&, architect(ral thin9in co&bines with the ac:(isition o! increasin ly re!ine% techni:(es an% %istills the secrets o! !or& into %esi n. It is this &i1t(re that is responsible !or the !ra &entary nat(re o! his achie-e&ents, which cannot be !(lly i%enti!ie% with any o! his wor9s, with the e1ception o! the &on(&ental to&b b(ilt !or the ;rion !a&ily in the ce&etery o! San Vito %8#lti-ole ,!ro& 1969 on/. Scarpa8s %esi ns are, in !act, &ostly pro-isional arran e&ents an% the in-ol(ntary &e&ory that e&er es in his %rawin s points contin(ally bac9 to the past. <he inco&pleteness that is the typical &o%e o! his research re-eals his concept o! the wor9 in relation to ti&e. It th(s beco&es possible to see the architect(ral !ra &ent as the !a-o(re% e&bo%i&ent o! Scarpa8s wor9 an% the coherent e1pression o! his re"ection o! habit. $i ht !ro& the start, when Scarpa pre!erre% to =st(%y= with the &aster lass wor9ers o! 7(rano rather than bow to the restrictions o! aca%e&ic c(lt(re, one !in%s hi& (sin %rawin an% e1ec(tion as part o! the %e-elop&ent o! e1perience. <he wor9 he achie-e% (p to the start o! the 840s re-eals the role o! -is(al &e&ory in Scarpa8s wor9. #nother co&&ent on 'ro(st co(l% also be re-ealin here> =*or the a(thor who re&e&bers, the &ain part is not playe% by what he has seen,= a!!ir&s ?alter ;en"a&in, =b(t by the wor9 o! re&e&berin , by the 'enelope8s web o! his &e&ory.= <he res(lts o! this tension pro-i%e the !ra&ewor9 o! Scarpa8s !ra &ents, which e-en be!ore bein !or&al e-ents are acts o! &o&entary !i1ation o! e1perience. ?e can i&a ine the art o! seein which Scarpa ca&e to possess by the en% o! his apprenticeship, as the res(lt o! the intellect(al -a abon%a e that characterize% his e%(cation. +e while% away the ti&e in azin , portrayin hi&sel! thro( h %rawin the ob"ecti-ity o! that which he obser-e%. +is pec(liar !or&al c(lt(re %eri-e% !ro& the eye, an% by obser-ation he &astere% techni:(e. *or instance, when he was %esi nin his lass ob"ects in the 820s, he was also obser-in conte&porary !i (rati-e wor9s. <his attit(%e is con!ir&e% by other characteristic !eat(res o! Scarpa8s c(lt(re an% so by !(rther artic(lations o! his achie-e&ent in %esi n. *or instance, when he %e-ote% hi&sel! to the st(%y o! the -ario(s techni:(es o! constr(ction - whether in lassware or &(se(& %esi n, in the (se o! &aterials or those in-ol-e% in essential b(il%in s9ills - what see&s to ha-e !irst seize% his attention was the creati-e li&itations i&plicit in the&. +ence, in his e!!ort to brea9 thro( h a nor& by intro%(cin %istortions an% e-en !lat contra%ictions into technical %etails an% constr(ctional sol(tions, one !in%s tan ible e-i%ence o! his re"ection o! habits an% the e&pty -al(es o! (tility whose pre&ise they are. <his re"ection (n%erlies the special 9in% o! c(lt(re o! &aterials Scarpa re!ine% on o-er the years. +is tor&ente% lo-e !or the hi%%en :(alities o! &atter in his b(il%in s %e-elope% parallel with attac9s on the li&itations technical banalization places on (se. +is %esire to :(estion these constraints appears clearly all thro( h his oe(-re, re-ealin its !(ll coherency in a wi%e ran e o! achie-e&ents. It is artic(late% in s(ccessi-e phases, in the %e!inition o! which the art o! seein %e-elops its own contin(o(s critical co&&entary on reality. Co&&ent e1presse% in the lan (a e o! architect(ral !or&s is, in%ee%, one o! the !(n%a&ental ai&s o! Scarpa8s %esi ns. Vis(al co&&ents, oin beyon% the wor9s e1hibite%-this is what we !in%, !or instance, in Scarpa8s &ost

s(ccess!(l %esi ns o! e1hibitions. <hey ran e !ro& the te&porary installations !or the e1hibitions o! @lee ,Venice, 194A/, 7on%rian ,$o&e, 1946/, the roo& %e-ote% to #ntonello %a 7essina in the e1hibition o! 14th cent(ry Sicilian art ,7essina, 1942/, %own to the &(se(& layo(ts !or the #cca%e&ia an% the Correr 7(se(& in Venice ,1942-46/, the 'ossa no 'lastercast 0allery ,1946-43/, an% the Castel-ecchio in Verona ,194A-64/. Scarpa8s &(se(&s %eclare e-en &ore e1plicitly than his e1hibition &o(ntin s the e!!ort he p(t into shapin &aterials, li ht, spatial arran e&ents an% colo(rs as a -is(al co&&entary str(ct(re% aro(n% the wor9 o! art. Scarpa8s co&positions consist o! ri!ts an% contrasts - his &is i-in s o-er the nor& necessarily lea% to %i!!erence. #n% %i!!erence is the hall&ar9 o! a Scarpian !ra &ent. In the %etail, %e-iation ta9es shape> the -iewer8s attention !oc(ses on it. <he !ra &ent co&pels a nearer -iew, it brin s the ob"ect closer (p. <his !ocal re%(ction appears in the %rawin s Scarpa scattere% o-er sheets o! paper, circlin , %is&antlin an% so analyzin the proble& he inten%e% to resol-e. <he horror -ac(i we !in% in his papers is the res(lt o! a ri i% analytical %iscipline, the only appropriate way to penetrate the s(btle !or& o! the !ra &ent. <he Scarpian %etail el(%es the co&pleteness o! any or%erin or syste&atic arran e&ent. It re:(ires elasticity in co&position an% e1cl(%es eneral stylistic r(les. ?ith re ar% to the latter :(estion, we nee% only note Ser io ;ettini8s obser-ation> Scarpa8s =e-ents= spea9 !ar &ore clearly o! an absence than o! any ret(rn to so&e 9in% o! or%er. <his increases the %istance between his wor9s an% &ost o! the achie-e&ents o! &o%ern %esi n. <he witherin o! stan%ar%s base% on classical r(les o! co&position has i-en rise to &(ch nostal ia in con-te&porary architect(re. <he (ncertainties sprin in !ro& this see& to be settle% when (se an% !(nction, technolo y an% cons(&ption, repro%(ction an% &ass &etho%s, co&e to be seen as the basic principles !or a new syste& an% crystallize into an or%er o! -al(es. Scarpa %isplays a s(bstanti-e in%i!!erence towar%s the 8new= scale o! -al(es. <he roots o! his wor9 pass thro( h the e&er ent strata o! the tra%ition witho(t bein a!!ecte% by the&. +e was little in-ol-e% in the &ytholo ies that %eter&ine% this tra%ition. *or in-stance, with technolo y he ca&e to set (p what was act(ally an ironical relationship, when he !elt its li&its &ost %eeply. Scarpa pre!erre% to play the car% o! arti!ice, o! the %etail, o! %i!!erence, o! the !ra &ent. +e saw the nor& as an arrest o! learnin , a &ani!estation o! the laziness o! the eye. <he :(est !or :(ality is e1presse% in Scarpa8s pro!o(n% attention %etail. 7eas(re an% har&ony are also attrib(tes o! the eni &a. #s -al(es o! or%er, instea%, they appertain to r(le, to syste&atic arran e&ent, to the =appearances that ha-e enc(&bere% the instant.= It is no acci%ent that Scarpa8s %rawin s &a%e only sparin (se o! perspecti-e.8 'erspecti-e entails a %ilation o! the horizon within which the !or&al %esi n is set, an% it trans!or&s =... the all(sion into a historic representation. +istory is the !inal p(rpose o! perspecti-e.= Carlo Scarpa8s to(ch &a9es &ani!est &e&ory an% !oc(ses the aze> in the %etail, he re enerates the space o! the &o&ent an% the instincti-e insi ht o! obser-ation. <he :(ality o! the !ra &ent is th(s essentially the o(tco&e o! %iscontin(ity an% not achie-e% in the &o%es o! perspecti-e arran e&ent.8 ?e ha-e alrea%y &entione% Scarpa8s re&ar9able sensiti-ity in han%lin &aterials an% techni:(es, b(t this now calls !or %eeper st(%y. *irst, it sho(l% be note% that Scarpa8s wor9in &etho% can har%ly be re%(ce% to the ter&s o! cra!ts&anship, as this is (n%erstoo% in &o%ern architect(ral thin9in or sociolo ical aesthetolo y. Scarpa, as has been sai%, wor9e% slowly. +is %rawin s were the o(tco&e o! a -i il rather than %rastic %epictions o! a %ecision. +is contin(al re-isions were so &any si nals o! %issatis!action rather than pro ressi-e sta es in an approach to a nor&. #ll this ha% little in co&&on with the 9in% o! care characteristic o! a cra!ts&an at wor9. I! anythin , it points to a special e1peri&ental concern, b(t not anythin re%(cible to the con!i%ent pro ress thro( h repeate% est(res that characterizes the wor9 o! a cra!ts&an. Cra!ts&anship is base% on habit an% r(le, while Scarpa8s proce%(re ten%s towar%s brea9in with r(les. 7o%ern architect(ral c(lt(re has e1alte% an% bewaile% the lost or anic (nity o! cra!ts&anship, !in%in this a "(sti!ication o! its own a%herence to the stylistic co%es o! stan%ar%ization. # ainst this Scarpa sets the -olatility o! his own c(lt(re an% his sy&pathy with thin sB his %esi ns see9 to re%ee& his &etier as a state o! !ree%o& !ro& ti&e, which &i ht be re ar%e% as pri&iti-e i! this were s(!!icient to e1press its initiatory ele&ent. In a%%ition, Scarpa8s %etails are oppose% to the banalization i&pose% on architect(ral in-enti-eness by -(sability. <he re%(ction o! !or& to &ere e1pression o! !(nction, to &ere =washability=, as Crnst ;loch a!!ir&s, is re"ecte% in Scarpa8s %esi ns. Scarpa see&s to (n%erstan% that

co&position %oes not &ean ann(llin this %i!!erence b(t %isplayin it. <his is tr(e o! his (se o! both &aterials an% technolo ies, b(t also o! the !or&s o! wor9 that the %esi n e&ploys, sti&(latin an% e%(catin their inner proce%(res. +is %esi ns con!ronts this ap an% e&phasizes it. ;etween %esi n an% cra!t wor9 or &an(al labo(r there is a s(bstanti-e %i!!erence, which &(st not be i nore%. <he relation Scarpa establishes with the nor&, as we ha-e &entione%, inclines towar%s e1cess. <his in%i-i%(ates a !(rther ap between his &etier, as it has pre-io(sly been %e!ine%, with reco(rse to a tra%itional conception, an% cra!ts&anship> <he latter has as its horizon the laws o! &aterial pro%(ction an% the a%-anta es o! (sabilityB its practices ten% towar%s celebration o! the -al(es o! sec(rity, an% their horizon is &ar9e% by the pre-alence o! the econo&ic %at(&. In the &etier, instea%, e1pression is i-en to an ele&ent o! e1cess, which ten%s to call in :(estion the (arantees o! &a9in , the certainties o! p(rposes. <he (nr(liness o! Scarpa8s %etails interpret this state o! a!!airs> habit is cancele% o(t in the l(1(rio(s !or& o! the !ra &ent.8 It wo(l%, howe-er, be &islea%in to con!(se the spen%thri!t !antasy Scarpa e1presses in, !or instance, the ;rion <o&b, with any !or& o! ostentatio(s %isplay. C1cess an% waste ac:(ire an alle orical !(nction in the to&b, in relation to both co&positional proce%(res an% also to !eelin s abo(t %eath. Da-ishness &ar9s o(t the relationship the architect has create% with %eath, a !eelin !or which ren%ers each co&positional !ra &ent e-en &ore co&ple1. <his ne1(s constit(tes the pre&ise !or the alle orical e1pressions that the San Vito str(ct(re resol-es itsel! into. I! %isc(ssion o! the ten%ency o! Scarpa8s %etails towar%s trans ression has entaile% re!erence to the concept o! =l(1(ry,= we sho(l% note that the li!e Scarpa i-es to the ;rion <o&b see&s a -ibration which co(l% only be reache% by 8e1cess8. <he &o(rnin &e&ory that he inten%s to e1press is resc(e% !ro& the !(nerary nor&, an% is celebrate% in the re%(n%ancy o! architect(ral episo%es. Eet it wo(l% still be &ista9en to spea9 o! the l(1(ry o! Scarpa8s co&position an% then content onesel! with re!lectin e1cl(si-ely on the &aterial te1t(res o! the wor9s. C-en &ore than in the speci!ic han%lin o! constr(ctional &aterials, where there pre-ails, rather, a re!ine% coherence o! (se, Scarpa trans resses a ainst the nor& in the ways he "(1taposes the&. In his &(se(& interiors, !or instance, his %esi ns &a9e (se o! the co&&ent (n!ol%e% aro(n% the historical ite&s, the&sel-es inten%e%, &oreo-er, to beco&e part o! the s(bstance o! the co&position, as happens with the elaborate placin o! the stat(e o! Can ran%e %ella Scala in the Castel-ecchio 7(se(&. <he restr(ct(rin o! the 6li-etti Showroo& in 'iazza San 7arco, Venice ,1943-4A/, or the arran e&ent o! the D(zzato hall in the F(erini-Sta&palia *o(n%ation are so &any %e&onstrations o! the &astery ac:(ire% by Scarpa in the elo:(ent &atchin o! %i!!erent &aterials. So reat was Scarpa8s &astery by this ti&e that he was able to sense the possibility o! a sy&bolical !(nction !or certain ele&ents in his co&positions - the water that appears in his %esi ns or the han%lin o! chiarosc(ro e!!ects -=sy&bolical= in the topolo ical sense o! the ter&, %eri-e% !ro& =s(&baGlein=, &eanin =to co&bine= or =!(se to ether=. In the wor9s o! his &at(rity there was to be an e-en reater concern with %etail an% the :(alities o! &aterials, co&bine% with the i%enti!ication o! archetypal si ns an% arran e&ents that were contin(ally bein rewor9e% an% %e-elope% s(bse:(ently. <he &aterials o! Scarpa8s co&positions are co&posite. #&on the&, an i&portant part is playe% by those which the =c(lt(re o! the eye= %raws o(t o! the en-iron&ent. <he sensiti-ity Scarpa shows in his han%lin o! li ht, which is a tr(e spatial ele&ent in a certain n(&ber o! his wor9s, is the !r(it o! his Venetian trainin . 5at(ral ele&ents seen by Scarpa as &aterials o! co&position. It sho(l% also be notice% that the (se o! water in Scarpa8s ar%ens is co(ple% with labyrinthine !or&s an% rare stone &aterials. <he slen%er waterco(rse that wen%s its way thro( h the ar%en o! the F(erini- Sta&palia *o(n%ation, !or instance, spills o-er a bloc9 o! white &arble chase% with a eo&etrical pattern.. <he co&bination o! water an% stone see&s to re-i-e one o! the &ost i&portant sy&bolical associations in ;(%%hist ar%ens, where these ele&ents are lin9e% in e-o9in the &ystery o! li!e. C!!ects o! this 9in% are not si&ply %eri-e% !ro& re!ine&ent o! taste. Scarpa8s &etier &eant -irt(oso thin9in > b(il%in was a &ani!estation o! tho( ht, "(st as !or& is a way o! co&&(nicatin thro( h si ht. *or& !i1es the instant o! seein an% the b(il%in i-es it the power o! resistin ti&e an% habit. ;y -irt(e an% s9ill the %esi n beco&es a re-elation o! the =thie!= in the acco&plishe% instants o! %etail.

<he concept o! =%ecoration= can be associate% with a -ery %i!!erent or%er o! si ni!icance !ro& those co&&only ascribe% to it by &o%ern !or&al -ocab(lary. ?hat has happene% is that the tra%ition8s -ali% principle that nothin is (se!(l (nless it is honest ,=&eas(re%=/ has been ra%(ally replace% by the con-iction that nothin is honest (nless it is (se!(l. <his in-ersion has pro%(ce% a &is(n%erstan%in o! the -al(e o! orna&ent. <o &o%ern c(lt(re an% %esi n, %ecoration an% orna&ent appear as not necessary co&ponents o! &atter re-eale%, %eli-ere% !ro& the in%eter&inacy o! (n&eas(re% :(antity. Since =&atter= is &erely the =&aterial= o! a pro%(ct, the -al(e o! orna&ent is %eter&ine% by technolo y, which sees its presence as a syste& ten%in to conceal its own intrinsic :(alities. <he si ni!icance o! orna&ent e&er es when &atter is no lon er consi%ere% &erely as a &eans, hence a pro%(ct. <he re%(ction o! &aterial to a &eans is the en% res(lt o! the =o(t-reachin han%= o! &o%ern technolo y, in its relation to thin s an% action. ?ith the creation o! the ;rion <o&b, Scarpa8s str( le a ainst the habits o! ti&e co&pletely she%s its &a9eshi!t character. <he entire pro"ect was concei-e% as an en%less wor9, inten%e% to interpret only the ti&e o! &at(ration o! the alche&y, the e1peri&ents, the e1pe%ients by which the lan (a e o! its own co&position is n(rt(re%. It was no acci%ent that Scarpa %esire% to be b(rie% here, in this ce&etery, near to his own wor9s> only the %eath o! its arti!icer co(l% ha-e p(t an en% to the b(il%in o! this a(tobio raphical narrati-e, treate% as a place o! enchant&ents, celebratin in (nrepeatable !ashion the pri&acy o! the instant, which is the :(est o! Scarpian co&position.

Carlo Scarpa H 0a-ina Showroo& - ;olo na I19611962J K2

in the %o&(s iss(e !ro& october 1962 there was this a&azin i&a e showin the whole !aca%e !ro& the a-ina showroo& in bolo na. +a-in this in &in% i trie% as a passionate b(t non pro!essional photo rapher the sa&e. sit(ate% in the ol% part o! the city in a s&all street i %i% this colla e by (sin 4 i&a es witho(t the (se o! a tripo% - it too9s &e alrea%y 20 &in(tes to ta9e these i&a es. 'eople or police cars ,LL/ were passin B 2 street si ns, bicycles an% other annoyin parts were always in !ront o! the shots. e-en the street is not strai ht an% so i ha% to co&bine these i&a es li9e a p(zzle. i croppe% the i&a es on the botto& to c(t o(t &ore annoyin st(!!. i co(l% et ri% o!

these 4 st(pi% - how to say in en lishM- =;oller=........., b(t on the other si%e...........they are there in real. this is the con%iton o! 2012, sprin ti&e. since 1993 a toy shop is insi%e the showroo&. e-erywhere toys. when i %i% i&a es insi%e i ha% to &o-e always so&e s&all st(!! !ro& here to there. the owner was -ery 9in% an% pro(% o! bein here. the interior is &ore or less co&plete, b(t beca(se o! the %i!!erent (se t8s not a showroo& any&ore. the 2 trian le water basins are co&pletely bloc9e% by toys, the &osaic in the sa&e part is bloc9e% an% 56< in s(ch a oo% con%itionB the closet are not in (se an% part ti&e bloc9e%B the s&all allery abo-e the s&all bathroo& I yo( ne-er co(l% o (pJ is not in (se an% so on an% so on. i trie% &y best shootin the shop insi%e, b(t a ain> its !(ll o! toys. the owner restore% the shop in 1993 be!ore &o-in in. a bit annoyin is o! co(rse the si n on the le!t openin . yo( sho(l% zoo& the i&a e LLLLLLLLLLLLLL

1arlo (car#a F -rchitectural 2acult" $enice &1966,1972, 198G' H1

d.teil of the entrance to the faculty. during the restoration of the faculty in the tolentini monaestry, a gateway of istrian stone was found. first, it was thought to be used as the entrance. scarpa wanted the gate to be used not as an entrance but displayed as a museum piece. the old gate has become a metaphor of the entrance, quite deliberately removed from its original function. it lies in a pool of water (see other images in the scarpa set) in which steps down to the bottom form a lively underwater landscape. for the entrance scarpa did 3 designs: the first in 1966, the second in 1972. His last project, never completed, further developed the preceding ideas and occupied him time and again during the last 2 years of his life. the gate is a sort of scales in unstable equilibirum balanced on a wheel.

BRION-VEGA CEMETERY BY CARLO SCARPA If anyone wonders what license we have to read so much into Scarpas work, it comes from Scarpas own words about his cemetery: I wanted to show what meaning there was in death, the ephemerality of life. ow look at that constellation of pulleys. !hey are connected to a gate of iron and glass inside. !o open it " here is a door in Scarpas imagination " you must push the gate down through a slot in the floor, into water below. #s the gate goes down, the long shiny counterweight outside rises toward the pulleys. $ne body plunges into the underworld,

and on the other side an eternal soul rises to the stars.

Carlo Scarpas Brion Vega Cementary

4oste! on 2011/02/20

After the Venice- Bassano -San Vito -Verona trip, Scarpa definitely became one of my favorite architects. I was familiar with his work way before I visited the Brion Cementary, Castel Vecchio or the Galleria !erini Stampalia, b!t I never e"pected it to make s!ch a different impression when I co!ld act!ally walk thro!#h the

spaces. $he cemetery is so far my favorite piece of his work. %is ability to create spacaces that envoke emotions of peace, c!rio!sity, am!sement, and contemplation is s!perb. $he way he !ses desi#n to lead the visitor thro!#h spaces, his attention to the smallest of details and the symbolism of the patterns that he !ses is in#enio!s. $he obvio!s inspiration with the &apanese architect!re is not overwhelmin# b!t rather pleasantly reinterpreted. $he way he plays with planes and levels makes !s loose the tr!e feel of the 'frame of reference() we no lon#er know what is s!pposed to be the '*+ level. $here are two worlds present in this pro,ect-the world above and !nder water. $he world !nder the water seems to be fro.en in time, !nto!chable, distant. B!t as we travel tro!#h the space we are able to catch a #limps of that world b!t still ,!st be able to ,!st slide on the s!rface of it. 'I wo!ld like to e"plain the $omba Brion-I consider this work, if yo! permit me, to be rather #ood and which will #et better over time. I have tried to p!t some poetic ima#ination into it, tho!#h not in order to create poetic architect!re b!t to make a certain kind of architect!re that co!ld emanate a sense of formal poetry-.$he place for the dead is a #arden-.I wanted to show some ways in which yo! co!ld approach death in a social and civic way) and f!rther what meanin# there was in death, in the ephemerality of life /other than these shoe-bo"es.( / Carlo Scarpa. 'Can Architect!re Be 0oetry.( from 0eter 1over, 2d. $he 3ther City Carlo Scarpa4 $he Architect5s 6orkin# 7ethod as Shown by the Brion Cemetery in San Vito 85Avitole. p9:-9;.