Carlo Scarpa

Canova’s Gypsotheca

Chronology of Carlo Scarpa’s main works

Carlo Scarpa 1955–1957 52 53 54 78 54 55 56 57 57 58 58 59 60 61 61 62 62 63 64 65 66 66 67 67 68 69 69 70 70 71 72 72 73 73 74 74 75 75 76 76 77 77 78 Museo Venice, 1952–53 and 1957–60 MuséeCorrer, Correr, Venise, 1952-53 et 1957-60 Museo Palazzo Abatellis, Palermo, 1953–54 MuséediPalazzo Abatellis, Palerme, 1953-54 Venezuela Pavilion, Venice, 1953–56 Pavillon du Venezuela, Venise, 1953-56 Canova’s Gypsotheca, Possagno,1955-57 1955–57 Musée Canova, Possagno, Villa 1955–61 VillaVeritti, Veritti,Udine, Udine, 1955-61 Olivetti Piazza SanSan Marco, Venice, 1957–58 OlivettiShowroom, showroom, Place Marco, Venise, 1957-58 Castelvecchio Museum, Verona, 1957–64 and 1966–67 andet 1973–751973-75 Musée Castelvecchio, Vérone, 1957-64 et 1966-67 Gavina Bologna, 1961–63 GavinaShowroom, showroom, Bologne, 1961-63 Querini Stampalia Foundation, Venice 1961–63 Fondation Querini-Stampalia, Venise 1961-63 Zentner Zurich, 1964–68 MaisonHouse, Zentner, Zurich, 1964-68 Brion Cemetery, Vito d’Altivole, 1969–78 Mausolée de laSan famille Brion, San Vito d'Altivole,

1969-78

Apartment Contrà del Quartiere,del Vicenza, 1975–78 Immeubleblock, de logements-Contra quartiere-Vincence

1975-78

Banca Popolare di Verona, Verona, 1973–78 Banque populaire, Vérone, 1973-78 Villa Bardolino, Verona, 1974–78 VillaOttolenghi, Ottolenghi, Bardolino, Vérone, 1974-78

Canova’s Gypsotheca Carlo Scarpa 1955–1957 This project is one of the first museum buildings designed by Carlo Scarpa.

It follows on from the Palazzo Abatellis Museum in Palermo.

It should be noted that the Venezuelan pavilion was underway in Venice at the time. Certain connections can be observed, especially in the shape of the upper windows.

CANOVA’S GYPSOTHECA

15

Canova’s Gypsotheca

Chronology of Carlo Scarpa’s main works

Carlo Scarpa 1955–1957 52 53 54 78 54 55 56 57 57 58 58 59 60 61 61 62 62 63 64 65 66 66 67 67 68 69 69 70 70 71 72 72 73 73 74 74 75 75 76 76 77 77 78 Museo Venice, 1952–53 and 1957–60 MuséeCorrer, Correr, Venise, 1952-53 et 1957-60 Museo Palazzo Abatellis, Palermo, 1953–54 MuséediPalazzo Abatellis, Palerme, 1953-54 Venezuela Pavilion, Venice, 1953–56 Pavillon du Venezuela, Venise, 1953-56 Canova’s Gypsotheca, Possagno,1955-57 1955–57 Musée Canova, Possagno, Villa 1955–61 VillaVeritti, Veritti,Udine, Udine, 1955-61 Olivetti Piazza SanSan Marco, Venice, 1957–58 OlivettiShowroom, showroom, Place Marco, Venise, 1957-58 Castelvecchio Museum, Verona, 1957–64 and 1966–67 andet 1973–751973-75 Musée Castelvecchio, Vérone, 1957-64 et 1966-67 Gavina Bologna, 1961–63 GavinaShowroom, showroom, Bologne, 1961-63 Querini Stampalia Foundation, Venice 1961–63 Fondation Querini-Stampalia, Venise 1961-63 Zentner Zurich, 1964–68 MaisonHouse, Zentner, Zurich, 1964-68 Brion Cemetery, Vito d’Altivole, 1969–78 Mausolée de laSan famille Brion, San Vito d'Altivole,

1969-78

Apartment Contrà del Quartiere,del Vicenza, 1975–78 Immeubleblock, de logements-Contra quartiere-Vincence

1975-78

Banca Popolare di Verona, Verona, 1973–78 Banque populaire, Vérone, 1973-78 Villa Bardolino, Verona, 1974–78 VillaOttolenghi, Ottolenghi, Bardolino, Vérone, 1974-78

Canova’s Gypsotheca Carlo Scarpa 1955–1957 This project is one of the first museum buildings designed by Carlo Scarpa.

It follows on from the Palazzo Abatellis Museum in Palermo.

It should be noted that the Venezuelan pavilion was underway in Venice at the time. Certain connections can be observed, especially in the shape of the upper windows.

CANOVA’S GYPSOTHECA

15

Structural expression

Columns 1 and 2 – Columns 3 and 4

0

1

2

3

17. Elevation / plan for columns 1 and 2.

4

Column 1 This is where the line begins. It approaches the existing wall (the wall of the preserved ‘tettoia’, the canopy) by means of a cantilever, so as not to lean on it. Similarly, the supported wall does not touch the existing preserved wall and a vertical void acts as a concrete-stone joint and thus shows that the wall is not a concrete beam and that it is indeed ‘supported’ and not ‘load-bearing’.

The column is welded under the beam directly without a plate. This assembly is a (non-perfect) fitting of the column to the beam.

Column 3 It is turned in the direction of the beam. It marks the halfway point of the empty or glazed part of the portico. Together with column 1, it forms a frame towards the wall of the basilica, on which the bas-reliefs are arranged.

The post is welded under the beam directly without a plate. This assembly means that the column is embedded in the beam.

Formally, the lines of the profile flanges correspond to each other (ill. 18).

Column 2 It is turned to allow the beam to pass through. It is recessed so that column 1 meets column 3, thus visually widening the frame of the void.

The post is welded under the beam directly without a plate. This assembly cannot be considered as an embedding of the column in the beam.

Column 2 is neutralised when scanning the trajectory of the beam cavity (ill. 17).

Column 4 It is turned to fit with the joinery, which is fixed on either side in the hollow of the profile. The flange of the column makes the vertical part of the wooden joinery disappear. As in the case of column 2, this assembly cannot be considered as the column being embedded in the beam.

Formally, the column recedes and offers its hollow joints to the wooden frames of the exterior joinery (ill. 19–20).

18. Elevation / plan for columns 1 and 2.

19. Column 4 incorporates the external joinery. The joinery work runs between columns 4 and 5.

20. Drawing of the exterior wood and steel joinery incorporated into the structure.

28

CANOVA’S GYPSOTHECA

29

Structural expression

Columns 1 and 2 – Columns 3 and 4

0

1

2

3

17. Elevation / plan for columns 1 and 2.

4

Column 1 This is where the line begins. It approaches the existing wall (the wall of the preserved ‘tettoia’, the canopy) by means of a cantilever, so as not to lean on it. Similarly, the supported wall does not touch the existing preserved wall and a vertical void acts as a concrete-stone joint and thus shows that the wall is not a concrete beam and that it is indeed ‘supported’ and not ‘load-bearing’.

The column is welded under the beam directly without a plate. This assembly is a (non-perfect) fitting of the column to the beam.

Column 3 It is turned in the direction of the beam. It marks the halfway point of the empty or glazed part of the portico. Together with column 1, it forms a frame towards the wall of the basilica, on which the bas-reliefs are arranged.

The post is welded under the beam directly without a plate. This assembly means that the column is embedded in the beam.

Formally, the lines of the profile flanges correspond to each other (ill. 18).

Column 2 It is turned to allow the beam to pass through. It is recessed so that column 1 meets column 3, thus visually widening the frame of the void.

The post is welded under the beam directly without a plate. This assembly cannot be considered as an embedding of the column in the beam.

Column 2 is neutralised when scanning the trajectory of the beam cavity (ill. 17).

Column 4 It is turned to fit with the joinery, which is fixed on either side in the hollow of the profile. The flange of the column makes the vertical part of the wooden joinery disappear. As in the case of column 2, this assembly cannot be considered as the column being embedded in the beam.

Formally, the column recedes and offers its hollow joints to the wooden frames of the exterior joinery (ill. 19–20).

18. Elevation / plan for columns 1 and 2.

19. Column 4 incorporates the external joinery. The joinery work runs between columns 4 and 5.

20. Drawing of the exterior wood and steel joinery incorporated into the structure.

28

CANOVA’S GYPSOTHECA

29

Sculpture Gallery

High floor structure The high floor of the ground floor, initially made of 80cm-thick wood, was demolished to lower the floor of the first floor so that the natural lighting could come in higher up in relation to the works of art and so that the light would be more diffused.

The reconstruction of the high floors on the lower level of the Museum was the subject of precise composition and design.

The room is roughly square,1 so there is no preferred direction for the span of the floors. Carlo Scarpa chose to arrange the installation of a steel beam in the axis of the tour, while balancing the ceiling by dividing it into four equal parts.

This made it possible to reduce the thickness of the floor and avoid losing ceiling height at the lower level. (ill. 37–38).

37. Initial survey.

The rooms are in fact slightly trapezoid. The design of the floor is then detached from the walls by a stone edge, to create a rigorous geometry that gives rhythm to the tour.

1

46

38. Project scheduling.

THE CASTELVECCHIO MUSEUM

47

Sculpture Gallery

High floor structure The high floor of the ground floor, initially made of 80cm-thick wood, was demolished to lower the floor of the first floor so that the natural lighting could come in higher up in relation to the works of art and so that the light would be more diffused.

The reconstruction of the high floors on the lower level of the Museum was the subject of precise composition and design.

The room is roughly square,1 so there is no preferred direction for the span of the floors. Carlo Scarpa chose to arrange the installation of a steel beam in the axis of the tour, while balancing the ceiling by dividing it into four equal parts.

This made it possible to reduce the thickness of the floor and avoid losing ceiling height at the lower level. (ill. 37–38).

37. Initial survey.

The rooms are in fact slightly trapezoid. The design of the floor is then detached from the walls by a stone edge, to create a rigorous geometry that gives rhythm to the tour.

1

46

38. Project scheduling.

THE CASTELVECCHIO MUSEUM

47

Implementation The existing floors were demolished. The concrete support was set into the brick wall. The steel beam was erected in situ, in three parts, in the first phase.

In the second phase, the concrete beams were formworked and poured in situ at the same time as the floors.

The floors are made of terracotta hollow-core slabs, between which reinforcements are placed before the concrete is poured on top to form a lightweight floor using very little concrete (ill. 55–57).

Message of the structure The imaginary column The steel beam literally picks up the concrete beams, replacing an imaginary missing column. This substitutes a simpler structure consisting of a single beam and joisting. The whole structure would have been thicker, but also much more visually static.

Engineer Carlo Maschietto had calculated the height of the concrete beams at 80 cm.

Carlo Scarpa thought this was too much, so he joked back: ‘Why don’t you put a post in the middle of each room?’

Carlo Scarpa implemented a modification to the structure of an

existing floor, even though everything had been rebuilt from scratch.

The formworked concrete beams can be seen as the petrification of the wooden construction.4 The succession of rooms, all based on the same structural principle, helps to guide the visitor and, above all, unifies all the rooms in an apparently ‘free’ layout, via the ceiling.

Re-establishing an architectonic order To ‘re-establish an architectonic order’,5 the design of the high floor structure is a key element, especially if it is the only structural modification. The façades would not be structurally altered.

It is also the only element indicating this direction: the floor layout is in the other direction and the spacing is not regular.

The division into four squares is a stable geometric element sought by Carlo Scarpa6 as it gives a certain permanence to the whole.

To reinforce the identity of the structure, the walls are separated from the flooring by a void, and the passages are framed by two massive Verona stones laid on edge.

Finally, the double metal C-beam creates tension between these two load-bearing lines, as Carlo Scarpa wanted: ‘So I imagined, I found this tension of a double beam composed in a C shape, because this height was so..., in order to do it, it became so wide that it did it.’7

55. The double beam being assembled.

K. Frampton, ‘Carlo Scarpa and the adoration of the joint’, in Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, Cambridge, Mass./ London: The MIT Press, 1995, Chapter 9.

5 Di Lieto, Verona. Carlo Scarpa and Castelvecchio. Visit guide op. cit.

6 F. Semi, A Lezione con Carlo Scarpa, Milan: Hoepli, 2019. Scarpa explained the design to his students.

7 Ibid.

4

58

56. The existing floors were demolished. The steel beam was erected in situ, in three parts, in the first phase.

57. The floors were then laid with hollow terracotta slabs and concrete reinforcement.

THE CASTELVECCHIO MUSEUM

59

Implementation The existing floors were demolished. The concrete support was set into the brick wall. The steel beam was erected in situ, in three parts, in the first phase.

In the second phase, the concrete beams were formworked and poured in situ at the same time as the floors.

The floors are made of terracotta hollow-core slabs, between which reinforcements are placed before the concrete is poured on top to form a lightweight floor using very little concrete (ill. 55–57).

Message of the structure The imaginary column The steel beam literally picks up the concrete beams, replacing an imaginary missing column. This substitutes a simpler structure consisting of a single beam and joisting. The whole structure would have been thicker, but also much more visually static.

Engineer Carlo Maschietto had calculated the height of the concrete beams at 80 cm.

Carlo Scarpa thought this was too much, so he joked back: ‘Why don’t you put a post in the middle of each room?’

Carlo Scarpa implemented a modification to the structure of an

existing floor, even though everything had been rebuilt from scratch.

The formworked concrete beams can be seen as the petrification of the wooden construction.4 The succession of rooms, all based on the same structural principle, helps to guide the visitor and, above all, unifies all the rooms in an apparently ‘free’ layout, via the ceiling.

Re-establishing an architectonic order To ‘re-establish an architectonic order’,5 the design of the high floor structure is a key element, especially if it is the only structural modification. The façades would not be structurally altered.

It is also the only element indicating this direction: the floor layout is in the other direction and the spacing is not regular.

The division into four squares is a stable geometric element sought by Carlo Scarpa6 as it gives a certain permanence to the whole.

To reinforce the identity of the structure, the walls are separated from the flooring by a void, and the passages are framed by two massive Verona stones laid on edge.

Finally, the double metal C-beam creates tension between these two load-bearing lines, as Carlo Scarpa wanted: ‘So I imagined, I found this tension of a double beam composed in a C shape, because this height was so..., in order to do it, it became so wide that it did it.’7

55. The double beam being assembled.

K. Frampton, ‘Carlo Scarpa and the adoration of the joint’, in Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, Cambridge, Mass./ London: The MIT Press, 1995, Chapter 9.

5 Di Lieto, Verona. Carlo Scarpa and Castelvecchio. Visit guide op. cit.

6 F. Semi, A Lezione con Carlo Scarpa, Milan: Hoepli, 2019. Scarpa explained the design to his students.

7 Ibid.

4

58

56. The existing floors were demolished. The steel beam was erected in situ, in three parts, in the first phase.

57. The floors were then laid with hollow terracotta slabs and concrete reinforcement.

THE CASTELVECCHIO MUSEUM

59

Apartment block, Contrà del Quartiere, Vicenza

Introduction - History

Carlo Scarpa 1975–1978 52 53 54 55 56 57 58 58 59 60 60 61 61 62 63 63 64 65 65 66 67 67 68 69 69 70 71 72 73 74 74 75 75 76 77 78 52 78 Museo Correr,Venise, Venice, 1952-53 1952–53etand 1957–60 Musée Correr, 1957-60 Museo di Palazzo Abatellis, Palermo, 1953–54 Musée Palazzo Abatellis, Palerme, 1953-54 Venezuela Venice, 1953–56 Pavillon duPavilion, Venezuela, Venise, 1953-56 Canova’s Gypsotheca, Possagno, 1955–57 Musée Canova, Possagno, 1955-57 Villa Veritti, Udine, 1955–61 1955-61 Olivetti Piazza Marco, Venice, 1957–58 MagasinShowroom, Olivetti, Place SanSan Marco, Venise, 1957-58 Castelvecchio Museum, Verona,1957-64 1957–64 and 1966–67 1973–75 Musée Castelvecchio, Vérone, et 1966-67 et and1973-75 Gavina Bologna,1961-63 1961–63 MagasinShowroom, Gavina, Bologne, Querini Stampalia Foundation, Venise Venice 1961-63 1961–63 Fondation Querini-Stampalia, Zentner House, Zurich, Maison Zentner, Zurich,1964–68 1964-68 Brion Cemetery, San Vito d’Altivole, 1969–78 Mausolée de la famille Brion, San Vito d'Altivole,

1969-78

Apartment block, Contrà del Quartiere, Vicenza, 1975–78 Immeuble de logements-Contra del quartiere-Vincence

1975-78

Banca Popolare di Verona, Banque populaire, Vérone,Verona, 1973-781973–78 Villa Ottolenghi, Ottolenghi, Bardolino, Bardolino,Verona, Vérone,1974–78 1974-78

The Borgo residence, or apartment block, Contrà del Quartiere, Vicenza Carlo Scarpa 1975-1978 The Borgo residence is a private development located in Contrà del Quartiere in Vicenza.

Carlo Scarpa was called in by the developer because he was having difficulty obtaining planning permission on the boundaries of the historic centre.

After much to-ing and fro-ing, not least over the shape of the roof, which the authorities wanted to be pitched, but which Carlo Scarpa wanted to be terraced, a solution was found.

Planning permission was granted in 1975, but the construction plans 84

were drawn up by the engineer Guiotto. Guiotto made a number of changes to the interior without Carlo Scarpa’s agreement.

When Carlo Scarpa died (1978), the building was incomplete, but the main points of the project remained as planned.

Description of the project The project comprises a building on the street and a building backing onto the garden. The garden is quite deep, and the aim behind the project was to raise the building overlooking the street by means of pilings, in order to offer a view of the garden from the street.

APARTMENT BLOCK, CONTRÀ DEL QUARTIERE, VICENZA

85

Apartment block, Contrà del Quartiere, Vicenza

Introduction - History

Carlo Scarpa 1975–1978 52 53 54 55 56 57 58 58 59 60 60 61 61 62 63 63 64 65 65 66 67 67 68 69 69 70 71 72 73 74 74 75 75 76 77 78 52 78 Museo Correr,Venise, Venice, 1952-53 1952–53etand 1957–60 Musée Correr, 1957-60 Museo di Palazzo Abatellis, Palermo, 1953–54 Musée Palazzo Abatellis, Palerme, 1953-54 Venezuela Venice, 1953–56 Pavillon duPavilion, Venezuela, Venise, 1953-56 Canova’s Gypsotheca, Possagno, 1955–57 Musée Canova, Possagno, 1955-57 Villa Veritti, Udine, 1955–61 1955-61 Olivetti Piazza Marco, Venice, 1957–58 MagasinShowroom, Olivetti, Place SanSan Marco, Venise, 1957-58 Castelvecchio Museum, Verona,1957-64 1957–64 and 1966–67 1973–75 Musée Castelvecchio, Vérone, et 1966-67 et and1973-75 Gavina Bologna,1961-63 1961–63 MagasinShowroom, Gavina, Bologne, Querini Stampalia Foundation, Venise Venice 1961-63 1961–63 Fondation Querini-Stampalia, Zentner House, Zurich, Maison Zentner, Zurich,1964–68 1964-68 Brion Cemetery, San Vito d’Altivole, 1969–78 Mausolée de la famille Brion, San Vito d'Altivole,

1969-78

Apartment block, Contrà del Quartiere, Vicenza, 1975–78 Immeuble de logements-Contra del quartiere-Vincence

1975-78

Banca Popolare di Verona, Banque populaire, Vérone,Verona, 1973-781973–78 Villa Ottolenghi, Ottolenghi, Bardolino, Bardolino,Verona, Vérone,1974–78 1974-78

The Borgo residence, or apartment block, Contrà del Quartiere, Vicenza Carlo Scarpa 1975-1978 The Borgo residence is a private development located in Contrà del Quartiere in Vicenza.

Carlo Scarpa was called in by the developer because he was having difficulty obtaining planning permission on the boundaries of the historic centre.

After much to-ing and fro-ing, not least over the shape of the roof, which the authorities wanted to be pitched, but which Carlo Scarpa wanted to be terraced, a solution was found.

Planning permission was granted in 1975, but the construction plans 84

were drawn up by the engineer Guiotto. Guiotto made a number of changes to the interior without Carlo Scarpa’s agreement.

When Carlo Scarpa died (1978), the building was incomplete, but the main points of the project remained as planned.

Description of the project The project comprises a building on the street and a building backing onto the garden. The garden is quite deep, and the aim behind the project was to raise the building overlooking the street by means of pilings, in order to offer a view of the garden from the street.

APARTMENT BLOCK, CONTRÀ DEL QUARTIERE, VICENZA

85

The corner column on the northern façade overlooking the garden (ill. 104)

A column next to a wall The column forms the vertical joint between the return wall and the ground supports of the street wing.

The concrete column marks its independence, and thus its strength.

The red-painted steel beam runs around the raised building.

The bolts explain the assembly using corner angles.

The gaps between the vertical slats, if deliberate, dramatize the load transfer by lightening the mass at the most critical point. (ill. 105)

104. Literal transparency between stiffeners.

The bolts explain the assembly using corner angles.

The gaps between the vertical slats are deliberate: they dramatize the load transfer by lightening the mass at the most critical point.

94

105. The symmetry of the angle: the structure turns around.

The column forms the vertical joint between the return wall and the street wing.

The concrete column marks its independence, and thus its strength.

APARTMENT BLOCK, CONTRÀ DEL QUARTIERE, VICENZA

95

The corner column on the northern façade overlooking the garden (ill. 104)

A column next to a wall The column forms the vertical joint between the return wall and the ground supports of the street wing.

The concrete column marks its independence, and thus its strength.

The red-painted steel beam runs around the raised building.

The bolts explain the assembly using corner angles.

The gaps between the vertical slats, if deliberate, dramatize the load transfer by lightening the mass at the most critical point. (ill. 105)

104. Literal transparency between stiffeners.

The bolts explain the assembly using corner angles.

The gaps between the vertical slats are deliberate: they dramatize the load transfer by lightening the mass at the most critical point.

94

105. The symmetry of the angle: the structure turns around.

The column forms the vertical joint between the return wall and the street wing.

The concrete column marks its independence, and thus its strength.

APARTMENT BLOCK, CONTRÀ DEL QUARTIERE, VICENZA

95

The structure of the flat roof

155. Plan of the flat roof (May 1975): the structure is made of steel, with concrete floors built with hollow terracotta floor slabs incorporated into the thickness of the load-bearing steel beams.

The reinforced concrete 136

parapet is connected to the floor. Its upper level corresponds to that of the slabs on platforms.

Some of the steel beams are higher than the thickness of the floor: the extra height is placed in the apron wall and will

be incorporated into the central part of the terrace, which is higher to allow ventilation ducts to pass underneath.

R. Scarazzai Archives – ref tb39206r.

156. The raised part of the roof runs along the loggia on the courtyard side and stops to the right of the old building. The waterproofing is hidden by slabs on platforms.

157. View of the roof terrace: the raised section corresponds to the passage of the ventilation ducts between two main metal beams. The waterproofing is covered with slabs on platforms according to a specific design comprising Prun stone slabs with a natural finish and aggregate concrete slabs.

BANCA POPOLARE DI VERONA

137

The structure of the flat roof

155. Plan of the flat roof (May 1975): the structure is made of steel, with concrete floors built with hollow terracotta floor slabs incorporated into the thickness of the load-bearing steel beams.

The reinforced concrete 136

parapet is connected to the floor. Its upper level corresponds to that of the slabs on platforms.

Some of the steel beams are higher than the thickness of the floor: the extra height is placed in the apron wall and will

be incorporated into the central part of the terrace, which is higher to allow ventilation ducts to pass underneath.

R. Scarazzai Archives – ref tb39206r.

156. The raised part of the roof runs along the loggia on the courtyard side and stops to the right of the old building. The waterproofing is hidden by slabs on platforms.

157. View of the roof terrace: the raised section corresponds to the passage of the ventilation ducts between two main metal beams. The waterproofing is covered with slabs on platforms according to a specific design comprising Prun stone slabs with a natural finish and aggregate concrete slabs.

BANCA POPOLARE DI VERONA

137

Sez. F-F

Sez. G-G

28 13845

13320

HE 200 M

13100

905X300 "D"

24

33

HE 200 M

13320

HE 200 M

3

13100

600X210 12475

12605

12605

HE 200 B

HE 200 B

9 2730

HE 300 M

HE 300 M

13440

32

13320

HE 200 M 600X210

8 8340

HE 200 M

19

13100

12405

5

13540

13345

12475

12405

21

13345

12940

22

600X210

850

6

HE 200 M

150X16 lg. 216

26

23

25

HE 300 M

25

18

25

13345

13440

25

2

13345

HE 200 M

13100

150X16 lg. 216

29

600X210

12475

12475

12605

8240 19310

HE 200 B

12405

HE 200 B

10

8 8340

2730

8240 19310

13540

110 4 fori Ø17 - bull. Ø16X80

HE 200 M

13320 13845

HE 200 M 13100

110

13345

25

905X300 "D"

13320

HE 200 M

13320

HE 200 M

60

100

50

HE 200 M

13100

150X16 lg. 216

12475

144

13100

Alette sp.10

600X210

≠ 210X10 lg. 216 4 fori Ø17 - bull. Ø16X65

110 186

169. Working drawing of the steel structure: crosssection F-F. This section is positioned next to the lift shaft: the load-bearing beam is higher (905 mm) to support the loads of the lift shaft over a span of 9.72 m.

170. Working drawing of the steel structure: crosssection G-G. This section is located near the rounded lift. An HEM 200 beam is placed on the floor beam to support the aedicula.

BANCA POPOLARE DI VERONA

145

Sez. F-F

Sez. G-G

28 13845

13320

HE 200 M

13100

905X300 "D"

24

33

HE 200 M

13320

HE 200 M

3

13100

600X210 12475

12605

12605

HE 200 B

HE 200 B

9 2730

HE 300 M

HE 300 M

13440

32

13320

HE 200 M 600X210

8 8340

HE 200 M

19

13100

12405

5

13540

13345

12475

12405

21

13345

12940

22

600X210

850

6

HE 200 M

150X16 lg. 216

26

23

25

HE 300 M

25

18

25

13345

13440

25

2

13345

HE 200 M

13100

150X16 lg. 216

29

600X210

12475

12475

12605

8240 19310

HE 200 B

12405

HE 200 B

10

8 8340

2730

8240 19310

13540

110 4 fori Ø17 - bull. Ø16X80

HE 200 M

13320 13845

HE 200 M 13100

110

13345

25

905X300 "D"

13320

HE 200 M

13320

HE 200 M

60

100

50

HE 200 M

13100

150X16 lg. 216

12475

144

13100

Alette sp.10

600X210

≠ 210X10 lg. 216 4 fori Ø17 - bull. Ø16X65

110 186

169. Working drawing of the steel structure: crosssection F-F. This section is positioned next to the lift shaft: the load-bearing beam is higher (905 mm) to support the loads of the lift shaft over a span of 9.72 m.

170. Working drawing of the steel structure: crosssection G-G. This section is located near the rounded lift. An HEM 200 beam is placed on the floor beam to support the aedicula.

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145

The opening in the old part The opening in the wall of the existing palace by means of a head frame does not show how the structure of the extension rests on the ground: the basement is not part of the project.

The beam is a welded reconstituted profile, set in place and assembled in three spliced parts by plates bolted to the web (ill. 209).

208. The spiral staircase was built in the second phase on the site of the Palazzo Righetti.

The last three floors around the shaft were built using steel beams, as they were located in the existing palace.

The floor at level 0.00 is made of concrete.

Renato Scarazzai’s Archives.

180

209. Plan of the opening in the wall of Palazzo Righetti to join the two buildings, which was executed during the second phase.

Renato Scarazzai’s Archives BANCA POPOLARE DI VERONA

181

The opening in the old part The opening in the wall of the existing palace by means of a head frame does not show how the structure of the extension rests on the ground: the basement is not part of the project.

The beam is a welded reconstituted profile, set in place and assembled in three spliced parts by plates bolted to the web (ill. 209).

208. The spiral staircase was built in the second phase on the site of the Palazzo Righetti.

The last three floors around the shaft were built using steel beams, as they were located in the existing palace.

The floor at level 0.00 is made of concrete.

Renato Scarazzai’s Archives.

180

209. Plan of the opening in the wall of Palazzo Righetti to join the two buildings, which was executed during the second phase.

Renato Scarazzai’s Archives BANCA POPOLARE DI VERONA

181

236. View of the interior façade of the loggia of the Castelvecchio Museum’s Sculpture Gallery, Verona.

The steel structure of the upper glazing rests on a folded slab of unfinished concrete, supported by vertical concrete frames, covered with a smooth grey rendering.

Banca Popolare di Verona, Verona The double beam of the entablature of the BPV façades has HEB 200 beams at the bottom, closed by plates at each support on the double columns: the plates of two successive bays are bolted together, but the position of the bolts does not constitute an embedding, only continuity in tension (or compression). On the other hand, the support of this continuous beam on double columns constitutes a stable system in his plan, due to the short distance between two columns. Only the flexibility of the columns could pose a problem (ill. 185, p. 160).

This lower beam carries no load. Its architectural role is to punctuate the attic of the façade, giving pride of place to the upper beam, which is open and carries the flat roof and its stone cornice.

In the BPV façade, the twin columns combined with the HEB beam form a stable load-bearing structure that takes the loads of the upper beam at the columns.

The upper reconstructed beam is structurally designed to transmit the floor loads to this load-bearing system. It is oversized: 600 mm high for spans varying from 2.90 m to 5.81 m.

The system of fishplates placed on the webs and not on the flanges shows that this beam does not need to be calculated with continuity.

Its architectural role is to form a continuous hollow joint, unifying the entire façade, the height of which is determined by the proportion

between the supporting lines and the supported lines. The large fishplates on the webs of the upper beam provide an aesthetic and rhythmic counterpoint to the end plates of the lower beam.

Carlo Scarpa has spoken at length about these ‘ancient metopes’8.

The use of steel as a counterpoint Steel is set in a universe of masonry, rendering and stone. Its apparent incongruity makes it seem like a heroic act and forces it to speak out, because its structural role is amplified.

In the Canova’s Gypsotheca, the portico is part of the straight line, the vertical plane that runs through the entire project and forms its framework, its reference plane. Most of this vertical plane is made of masonry, and the presence of steel, which brings together elements that all the make up this plane, is a decisive factor in the construction of the project.

In the façade of the BPV in Verona, the double entablature beam and the associated columns form the frame of the façade. They contain the composition of the façade in masonry, stone and marble, separate it from the façades of the adjacent buildings and carry the cornice that anticipates the plan of the roof.

Excerpt from Un’ora con Carlo Scarpa, documentary produced

237. The concrete slab forms an initial ceiling laid on concrete walls clad in grey stucco.

This architectural structure fits into the Gothic loggia loggia of the Castelvecchio Museum’s Sculpture Gallery, Verona.

238. Steel frames and display stands: steel is used in the furniture.mobilier.

206

8

Semi, A lezione con Carlo Scarpa op. cit.

THE LANGUAGE OF MATERIALS

207

236. View of the interior façade of the loggia of the Castelvecchio Museum’s Sculpture Gallery, Verona.

The steel structure of the upper glazing rests on a folded slab of unfinished concrete, supported by vertical concrete frames, covered with a smooth grey rendering.

Banca Popolare di Verona, Verona The double beam of the entablature of the BPV façades has HEB 200 beams at the bottom, closed by plates at each support on the double columns: the plates of two successive bays are bolted together, but the position of the bolts does not constitute an embedding, only continuity in tension (or compression). On the other hand, the support of this continuous beam on double columns constitutes a stable system in his plan, due to the short distance between two columns. Only the flexibility of the columns could pose a problem (ill. 185, p. 160).

This lower beam carries no load. Its architectural role is to punctuate the attic of the façade, giving pride of place to the upper beam, which is open and carries the flat roof and its stone cornice.

In the BPV façade, the twin columns combined with the HEB beam form a stable load-bearing structure that takes the loads of the upper beam at the columns.

The upper reconstructed beam is structurally designed to transmit the floor loads to this load-bearing system. It is oversized: 600 mm high for spans varying from 2.90 m to 5.81 m.

The system of fishplates placed on the webs and not on the flanges shows that this beam does not need to be calculated with continuity.

Its architectural role is to form a continuous hollow joint, unifying the entire façade, the height of which is determined by the proportion

between the supporting lines and the supported lines. The large fishplates on the webs of the upper beam provide an aesthetic and rhythmic counterpoint to the end plates of the lower beam.

Carlo Scarpa has spoken at length about these ‘ancient metopes’8.

The use of steel as a counterpoint Steel is set in a universe of masonry, rendering and stone. Its apparent incongruity makes it seem like a heroic act and forces it to speak out, because its structural role is amplified.

In the Canova’s Gypsotheca, the portico is part of the straight line, the vertical plane that runs through the entire project and forms its framework, its reference plane. Most of this vertical plane is made of masonry, and the presence of steel, which brings together elements that all the make up this plane, is a decisive factor in the construction of the project.

In the façade of the BPV in Verona, the double entablature beam and the associated columns form the frame of the façade. They contain the composition of the façade in masonry, stone and marble, separate it from the façades of the adjacent buildings and carry the cornice that anticipates the plan of the roof.

Excerpt from Un’ora con Carlo Scarpa, documentary produced

237. The concrete slab forms an initial ceiling laid on concrete walls clad in grey stucco.

This architectural structure fits into the Gothic loggia loggia of the Castelvecchio Museum’s Sculpture Gallery, Verona.

238. Steel frames and display stands: steel is used in the furniture.mobilier.

206

8

Semi, A lezione con Carlo Scarpa op. cit.

THE LANGUAGE OF MATERIALS

207

Silvana Editoriale

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GIPSOTECA CANOVIANA, Possagno Fig. 6 – Archivio Storico, Banco BPM Fig. 7 – Archivio Storico, Banco BPM Fig. 20 – © MAK/Georg Mayer Fig. 28 – MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura Fig. 29 – MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura MUSEO DI CASTELVECCHIO, Verona Photographs by Luca Postini Fig. 106 – MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura CONTRÀ DEL QUARTIERE, Vicenza Photographs by Luca Postini BANCA POPOLARE DI VERONA, Verona Fig. 109 – © Eugenio De Luigi Fig. 114 – MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura Fig. 210 – © Guido Pietropoli – CISA A. Palladio – Regione Veneto