CARLO SCARPA
1906-1978
I WANT TO SEE, AND THAT’S WHY I DRAW, I CAN SEE AN IMAGE ONLY IF I DRAW IT.
Contents
Foreword Timeline
Palazzo Ca’Foscari, Venice, Italy, 1935–1956
Venezuelan Pavilion, La Biennale, Venice, Italy, 1954–1956
Museo di Castelvecchio, Verona, Italy, 1956–1964
Fondazione Querini Stampalia, Venice, 1961–1963
Brion Tomb and Sanctuary, at San Vito d’Altivole, Italy, 1969–1978
Materials
Reference List
Foreword
Carlo Scarpa is considered one of the most innovative and influential architects of the 20th century. His approach to architecture, which emphasised the importance of geometry and materials, resulted in a highly functional and aesthetically compelling body of work. The exhibition“Carlo Scarpa: Geometry and Materials”explores this approach and its impact on the architectural world.
Scarpa’s use of geometry in his designs was highly intentional. He believed that a building should not simply be a collection of spaces but should instead be a composition of forms that work together to create a cohesive whole (Architectuul n.d.). In Scarpa’s designs, geometric shapes are used to create a sense of order and balance, while also serving functional purposes. For example, in the Brion Cemetery, Scarpa used a series of overlapping circles to create a sense of movement and flow through the space, while also providing seating areas for visitors. Carlo Scarpa’s use of geometry in his architectural designs also contributed to the development of modernism by breaking away from traditional design conventions and exploring new ways of creating spatial experiences, often through the manipulation of geometric forms and the play between solids and voids, resulting in a highly dynamic and modern aesthetic (Salazar 1997).
However, Scarpa’s use of geometry was never rigid or formulaic. Instead, he employed a highly intuitive approach, allowing the specific needs and context of each project to guide his design decisions (Architectuul n.d.). This resulted in designs that were highly responsive to their surroundings, while also retaining a strong sense of formal coherence.
Materials were also of central importance in Scarpa’s work. He believed that the choice and use of materials was a key aspect of architectural expression, and he often used traditional materials in innovative ways (Salazar 1997). For example, in the Olivetti showroom in Venice, Scarpa used a combination of glass, steel, and stone to create a dynamic and visually stunning space that showcased the company’s products in a highly effective way. He also paid attention to the natural qualities of the materials, such as the way light interacts with them or how they age over time. Scarpa’s use of materials was integral to his layering and sequencing of spaces, creating a sense of continuity and flow throughout his buildings.
Scarpa’s approach to materials also reflected his interest in the relationship between architecture and history (Salazar 1997). He often used materials that were specific to a particular time and place, such as the Venetian terrazzo that he used in the renovation of the Palazzo Querini Stampalia. This not only created a sense of continuity with the building’s past but also allowed Scarpa to create a unique and highly expressive contemporary space.
In addition to his use of geometry and materials, Scarpa was also known for his attention to detail (Architectuul n.d.). He believed that every element of a building should be carefully considered and crafted, from the overall form down to the smallest details such as door handles and light fixtures. This approach resulted in designs that were highly integrated and harmonious, with each element working together to create a cohesive whole.
Overall, the exhibition “Carlo Scarpa: Geometry and Materials” seeks to explore the ways in which Scarpa’s approach to architecture revolutionised the field and continues to influence architects today. Through a series of original works, including models, drawings, and diagrams, the exhibition will showcase the breadth and depth of Scarpa’s design philosophy, while also providing a window into his creative process. By highlighting the importance of geometry, materials, and attention to detail in Scarpa’s work, the exhibition aims to inspire a new generation of architects to think creatively and critically about the built environment.
Architectuul. “Carlo Scarpa.” Accessed May 8, 2023. https://architectuul.com/ architect/carlo-scarpa#:~:text=Scarpa%20was%20concerned%2C%20with%20 the,designers%2C%20most%20notably%20Franco%20Albini.
Salazar, Dunia V. 1997. “The Function of Form: Meaning in the Work of Carlo Scarpa.” Master’s thesis, Texas Tech University. file:///C:/Users/Nchen3/ Downloads/31295012207147.pdf
Foreword
Carlo Scarpa is widely recognised as one of the most innovative architects of the 20th century, renownedforhisintricateandthoughtfuldesigns. Inthisexhibition,wewillfocusonScarpa’sunique approach to geometry and materials, and how theycontributetohisarchitecturalmasterpieces.
Scarpa’s use of solid and void, non-monumental entrances, off-axis entry, and emphasis on the horizontal are just a few of the elements that characterise his design process. Through the selection of materials and their placement, Scarpa creates a distinct narrative that adds to the overall experience of his spaces. We will examine his use of natural materials such as wood, stone, and water, and how they create an immersive and sensory experience for the user.
Join us as we explore the timeless and innovative work of Carlo Scarpa, and discover the beauty of his unique approach to architecture.
Timeline
Carlo Scarpa’s use of geometry in his architectural designs has been an inspiration for many artists and designers, including myself. His ability to create complex spatial relationships and visual interest through the use of geometric forms and patterns is truly remarkable. In creating this collage, I have aimed to capture the evolution of Carlo Scarpa’s career through his projects, while also showcasing his unique approachtodesign.ByincorporatingScarpa’suseofgeometryintothe design of this timeline, I hope to pay homage to his legacy and inspire others to explore the power of geometric forms in their own artwork.
Palazzo Ca’Foscari, Venice, Italy, 1935–1956
Carlo Scarpa’s design for Palazzo Ca’Foscari showcases his exceptional his architecture. He utilised traditional Venetian building techniques city’s rich architectural heritage. At the same time, Scarpa infused the and clean lines, to create a timeless and elegant aesthetic. His attention in every aspect of the palazzo’s design, from the intricately patterned of the Venetian lagoon. Scarpa’s Palazzo Ca’Foscari remains a testament
exceptional ability to incorporate geometry, history, and modernism into techniques and materials, such as brick and stone, to pay homage to the the building with modernist elements, including geometric shapes attention to detail and mastery of proportion and balance can be seen patterned floors to the carefully placed windows that frame stunning views testament to his innovative and visionary approach to architecture.
Venezuelan Pavilion, La Biennale, Venice, Italy, Museo di Castelvecchio, Verona, Italy, 1956–1964
Carlo Scarpa’s designs for the Venezuelan Pavilion at La Biennale
his masterful use of geometry. In the Venezuelan Pavilion, Scarpa employed to create a dynamic space that seamlessly blended historical and its sweeping curves and intersecting planes, created a sense of movement the Museo di Castelvecchio, Scarpa’s attention to detail and use of geometry that showcased the building’s historic architecture while incorporating reflect his commitment to creating innovative and timeless spaces that
Biennale and the Museo di Castelvecchio in Verona both demonstrate employed a range of traditional materials and modernist elements contemporary influences. The building’s unique geometry, with movement and fluidity that drew visitors into the space. Similarly, in geometry transformed a medieval fortress into a modern museum incorporating modernist elements. Scarpa’s designs for both buildings that balance tradition and modernity through the use of geometry.
Fondazione Querini Stampalia, Venice, 1961–1963
Brion Tomb and Sanctuary, at San Vito d’Altivole,
In the Fondazione Querini Stampalia, Scarpa transformed a a series of interconnected rooms that flow seamlessly into one such as triangles, circles, and rectangles, to create a dynamic Tomb and Sanctuary, Scarpa’s use of geometric forms, such and flow throughout the space. Scarpa also incorporated enhance the geometric design of the site. Overall, Scarpa’s sense of harmony and balance that draws visitors into the
1961–1963
d’Altivole, Italy, 1969–1978
a historic palace into a modern exhibition space, creating one another. Scarpa utilised a range of geometric shapes, dynamic and visually engaging space. Similarly, in the Brion such as circles and ellipses, creates a sense of movement incorporated water features and carefully curated landscaping to Scarpa’s use of geometry in both of these designs creates a space and encourages exploration and contemplation.
Materials
To create a collage inspired by the materials used by Carlo Scarpa, gather a variety of materials such as mosaic, brass, rice paper, concrete, glass, and wood. Cut or tear the materials into different shapes and sizes, and experiment with layering and overlapping them to create interesting compositions. Consider the textures and colors of each material and how they can work together to create a harmonious or contrasting effect. The result can be a unique and expressive artwork that pays homage to Scarpa’s use of materials in his architectural designs.
Reference List
Architectuul. “Carlo Scarpa.” Accessed May 8, 2023. https:// architectuul.com/architect/carlo-scarpa#:~:text=Scarpa%20 was%20concerned%2C%20with%20the,designers%2C%20 most%20notably%20Franco%20Albini.
Fracalossi, Igor. 2011. “AD Classics: Olivetti Showroom / Carlo Scarpa.“ ArchDaily. Accessed 8 May 2023. https://www. archdaily.com/155074/ad-classics-olivetti-showroom-carlosscarpa.
Hill, Jonathan. 1998. “The Machine and the Villa: The Role of Technology in Architectural Design Education.” The 86th ACSA Annual Meeting, 89-96. https://www.acsa-arch.org/ proceedings/Annual%20Meeting%20Proceedings/ACSA. AM.86/ACSA.AM.86.89.pdf.
Salazar, Dunia V. 1997.“The Function of Form: Meaning in the Work of Carlo Scarpa.” Master’s thesis, Texas Tech University. file:///C:/Users/Nchen3/Downloads/31295012207147.pdf.