d) Chapter 2: Architectural Analysis of David Chipperfield’s Neues Museum
c) Chapter 1: Architectural analysis of Carlo Scarpa’s Castelvecchio Museum
i) An introduction to the pre existing 14th century Venetian fortress and how public access to the site has developed over history, and how has the relationship of local/ contemporary materials changed since Scarpa’s intervention.
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ii) Key Moves and Intervention Strategy
i) Urban Context and Site History
iii) The Tectonic and Tactile i) Studying Scarpa’s complex material assembly and the relationship his intervention has with the original building and how effective was his intervention at setting principles for site sensitivity in intervention architecture.
ii) Key Moves and Intervention Strategy iii) The Tectonic and Tactile Fig. 1: Authors own image.
a) Abstract. b) Introduction.
Table of Contents
i) Analysing Scarpa’s use of threshold and journey throughout the building and relationship to external public spaces.
i) Urban Context and Site History
Chipperfield’s intervention reacts to a similar context as Scarpa’s building, as both were damaged during the Second World War, and I will be exploring how Scarpa’s methodologies on preserving and integrating an intervention into a historic fabric has influenced Chipperfield’s ideology of expressing “Not of what is lost, but what is saved.”
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Abstract Overview: This essay will be analysing Carlo Scarpa’s approach to intervention architecture through his use of material sensitivity to the existing context, the importance of circulation and threshold spaces to best express the artwork, and his detailed use of tectonics to influence the spacial experience of the visitors at the Castelvecchio Museum (1977), Verona, Italy. This Museum was originally built in the mid 1300’s to function as a castle for the Della Scala family until Scarpa’s intervention provided the disused building with a new function as a public museum.
I will be exploring Scarpa’s sensitivity to the site and contextual history and how these principles have been applied to contemporary standards with David Chipperfield’s Neues Museum, Berlin, Germany
.
1 The structure of this essay is influenced by Korydon Smith’s “Introducing Architectural Theory” which discusses a series of essays published by various architects of different time periods and creates a conversation on changing philosophies of contemporary architectural practice and theories. The chapter I will be refering to in this analytical case study is Tectonics: Chapter 4: Material and Immaterial which I will be referencing the importance of knowledge in traditional craftsmanship and materials, which Carlo Scarpa applied to his intervention of the Castlevecchio Museum in establishing a sense of critical regionalism within the building. But also looking at the works of Juhani Pallasmaa and Jonathan Hill in establishing a tactile architecture that engages viewers both physically and visually and how these effect the spacial experience of architecture. Thesis: To what extent did Carlo Scarpa provide a framework for a new approach to interventions within existing buildings? This essay will explore the particular character of Scarpa’s ‘interventions’ and how these have been applied in contemporary practice by David Chipperfield Architects.
1David Chipperfield Architect’s. Neues Museum Berlin
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Introduction This essay will be analysing the methods and practices of Carlo Scarpa’s Castelvecchio Museum, and how his intervention creates a balanced and integrated contemporary design into a historic building that define the urban context. Points that I will be focusing on in this essay is Scarpa’s attention to the historic context of Verona, and the Veneto region of Italy, and how his previous practices of early critical regionalism influenced his materials and construction methodologies of the Castelvecchio Museum as well as his broader architectural influences from the works of Frank Lloyd Wright and his rejection of the status quo International Modernism movement of the 1920-30s. By analysing his radical architectural moves of preservation and the integration of his design into this 14th century castle, we start to see a language of delicate stitching and weaving into the existing fabric of the building and the thoughtfulness of designing his architecture around the artefacts they are exhibiting, establishing an movement of post war exhibitionism called the “Democratic Museum”2 The final aspect of Castelvecchio that I will be analysing is Scarpa’s “intensive research into the function and conjunction of materials”3 and “his belief in the expressive power of details.”4 Looking at his sensitivity to materiality and the relationship tectonics has in his building at creating a dialogue between the old and new, and this tactile journey overall impacts the visitors experience of the spaces. Upon critical reflection, I will be evaluating the discussed points, and looking at how they have been applied to a contemporary practice of intervention architecture, such as David Chipperfield’s Neues Museum, finished in 2009, and how this intervention has been successfully integrated into Berlin’s Museum Island, a registered UNESCO World Heritage Site 2 Melbourne School of Design. Richard Murphy Interview 14:25 3 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 10 4 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 10
One question we must ask ourselves before looking at Carlo Scarpa’s modern interpretation of Castelvecchio is; does the form of the building directly indicate the function it hosts? This was the question of scepticism that Scarpa received from architectural critics and from professionals in the field of architecture. As Richard Murphy explains “Before him, working with existing buildings was not considered mainstream architectural activity… We can think of all the great architecture of all the great architects of the 20th century, not one of them, not one project really from Corb or Wright or Aalto is a work to an existing building.”6 This radical innovation in the architectural community was first demonstrated in 1937 with Scarpa’s renovation of the Ca’ Foscari for the University of Venice to his redesigning of exhibitions at the Venice Biennale, always maintaining that his architecture is used as a medium to enhance and not subtract from the work he is exhibiting. Scarpa’s education at the Royal Academy of Fine Arts between 1919 and 1926 was at a crucial time in history where many architecture students were being influenced by the teachings of the International Modern movement, that was fore fronted by Le Corbusier, whilst still being taught in Beaux Art traditions. Scarpa rejected earlier Corbusian principles in teaching and pursued knowledge in the 5 John Ruskin. The Seven Lamps of Architecture. New York, Dover, p.186 6 Melbourne School of Design. Richard Murphy Interview 13:30 Fig. 2 Figure Ground Plan of Verona, Italy
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Urban Context and Site History
“[…] Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture”5
Chapter 1: Architectural Analysis of Carlo Scarpa’s Castelvecchio Museum
traditional Beaux Art curriculum with taking a particular interest in the craftsmanship, the “rilievi of brickwork”7 and regional identity of the Veneto, a region of northern Italy that he was raised in, including Venice and Verona. “To treat an intervention as the disposition of discrete parts rather than a single form, amounts to a species of urbanism.”
8 Before Scarpa’s influence on the Castelvecchio Museum, it is important to understand the castles’ political and regional importance to the city of Verona. The Comune wall was established as the city boundary when Verona was a free city republic in the 1100s, this wall is still standing and separates the site in two at Castelvecchio. The left of the wall is where the Della Scalla family of the mid 1300s established a political stronghold after invading Verona and constructed the Reggia wing, the Torre del Mastio and the Scaligeri bridge which was a private bridge used for the Scaligeri in the event of an uprising or revolt, which after the fall of the aristocracy of 1387, the castle was returned to its military role in the city. The north and east side of the complex which still stands to today but underwent transformations by Italian architect Ferdinando Forlati who attempted “to give the utilitarian structure a period aspect. They inserted Gothic doorways and window surrounds into the courtyard façade.”
9 7 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 10 8 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 14 9 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 68 Fig. 3 Figure Ground Plan with Greenspace of Verona, Italy
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Fig. 4 Ground Floor Plan Castelvecchio Museum Fig. 5 Ground Floor Section Castelvecchio Museum
12 Melbourne School of Design. Richard Murphy Interview 41:11
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Intervention Strategy and Key Moves
11 Smith, Korydon. Introducing Architectural Theory: Debating a Discipline Page 185
Fig 6. Axonometric of Castelvecchio
13 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 14
Scarpa stated that he took inspiration from the later works of Le Corbusier such as the Notre Dame du Haut which strives towards a more plastic form and establishing a visual experience in the architecture through movement of natural daylight, light intensity and the tactility of exposed concrete. Scarpa was also influenced from the later works of Louis Kahn that established a ‘poetic Modernism’10 and a truth to the materials that he used, but the most important architectural influence was from Frank Lloyd Wright and his introduction to organicism, term coined by Wright of creating an architecture that was free flowing and organic without the use of post and beam construction, but more traditional methods of craft. He describes this architecture as being part of one homogenous system: "Let walls, ceilings, floor now become not only partly to each other but part of each other, reacting upon and within one another; continuity in all"11 Scarpa’s initial reaction to the site was to proceed with a process of “disentangling the different histories of the building”12 by a means of research and excavation which was a daring and unconventional process of intervening with centuries of historic information. Upon analysis they discovered a moat that was built by the Scaligeri under the Comune wall that was infilled and with permission granted by the city council, Scarpa established a lost circulation strategy into the building by a mean of “demolition, change and modification.”13
Another key architectural feature that Scarpa expressed in the intervention was Castelvecchio's radical design move to not join the roof of the Italian barracks to the Commune wall. The language of 10 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 12
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Courtyard
14 Melbourne School of Design. Richard Murphy Interview 46:39 Fig 7. Axonometric of
removing the roofing to establish a shading device to best navigate light to the statue of Congrande helps to define this space and create a complex relationship with shadows and textures:
14 This relationship that Scarpa has in exploring the architectural idea of visual tension is a theme that is caried throughout his work including Castelvecchio, creating a juxtaposition between the old and new through a means of radical intervention with existing material. This narrative is later discussed in the tectonics and construction of the façade. Castelvecchio
“So he starts attacking it (the façade) and you can see with these drawings there strange ideas of moving windows around, some windows disappear, a large square window goes in here this bay has already been thought of a safe place for the Castelvecchio as the Cangrande.”
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16 Smith, Korydon. Introducing Architectural Theory: Debating a Discipline Page 156 Fig 8. Circulation Strategy Plan and Perspectives
15 Castelvecchio establishes a serial vision narrative into the exploration of spaces, and the variety of views of the exhibited art ultimately engages the participants physically in Scarpa's work, but also engages the viewers visually. This move was intentional in the way that his building was designed around the art, not vice versa which is normally practiced into today’s society of exhibition architecture. Scarpa's work is intentional. Using a creative suggestion of possible routes through spaces without the forceful and violent action of creating a constricting corridor which is described in Bernard Tschumi’s extract, stating that: “The architect will always dream of purifying this controlled violence, channelling obedient bodies along predictable paths and occasionally along ramps that provide striking vistas, ritualizing the transgression of bodies in space.”
Circulation Strategy
15 Smith, Korydon. Introducing Architectural Theory: Debating a Discipline Page 127
"In our culture of pictures, the gaze itself flattens into a picture and loses its plasticity. Instead of experiencing our being in the world, we behold it from outside as spectators of images projected on the surface of the retina."
16 Although expressing this issue in a cynical manner, Tschumi demonstrates the point that the public in the architecture we create should be completely immersed and engaged as much as possible, especially in a building made for educational functions which is why I believe Scarpa has perfectly balanced the exhibits to work with the complex layout strategy that creates a dialogue between the different sculpture and art pieces to keep the public engaged.
A key design move for the orientation of exhibition work, specifically in the Jesus Crucifixion was the way that natural daylight bounced against different sculptures at various points in the day that was created through intense observation of sun patterns throughout the year by Scarpa which ultimately decided his final organisation of permanent installations without the need of excessive artificial lighting within the galleries. This approach is similar to the way someone documents the exploration of a city, he was very interested in the journey and experiences that a participant went through when exploring his buildings as if thy were an urban environment with movement in the vertical aswell:
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Page
Fig 9. Statue Campalle at Castelvecchio Fig 10. Narrow Stairwell Castelvecchio
17 Scarpa’s strong and distinctive circulation strategy of Castelvecchio can be found to share a similarity to that depicted by Italo Calvino's Invisible Cities, where Marco Polos describes Venice's narrow, continuous and complex network of walkways. This suggests that Carlo Scarpa took inspiration from Venice in his design of exhibits in the Castelvecchio through his experience of living in the city. Calvino, Italo. Invisible Cities. 88
17
"Esmeralda's inhabitants are spared the boredom of following the same streets every day. And that is not all: the network of routes is not arranged on one level, but follows instead an up and down course of steps, landings, cambered bridges, hanging streets."
The Tectonics Scarpa plays with the traditional composition of a wall by detailing the floor, offsetting it from the wall joint and raising the floor plane to create a subtle motif to his earlier design which often reflect on the theme of containing water. This acute detailing to the floor/wall relationship helps to introduce transitional spaces into his exhibition halls but also informs the relationship his intervention has with the pre existing fabric of the building and illustrates his seperation of contrasting surface textures. This is highlighted in his earlier work, The Querini Stampalia, by establishing a 'moat' which encompasses his intervention, creating a definition between his work and the original architecture.
18 Scarpa’s experimentation and modelling of the display for the statue of Cangrande go through a series of proposals highlighting the relationship it is presented to the public in a cantilever fashion from a steel support as to not disturb the tactility of the plasterwork. The statue extends itself out of the tear in the façade, establishing a relationship on various planes that work around the circulation strategy of the building.
"Floor slabs stiffened and extended as cantilevers over centred supports, as a waiter's tray rests upon his upturned fingers, such as I now began to use in order to get plane parallel to the earth to emphasise the third dimension."
19 18 Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Page 238 19 Smith, Korydon. Introducing Architectural Theory: Debating a Discipline. Page 132 Fig 10. Courtyard Circulation
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“His revival of a sense of architecture as a public vehicle to provoke a dialogue between old and new are significant to this generation… his ability to adapt ancient local traditions to current and global concerns, from his skill in making a historic fabric absorb a modern vocabulary.”
The Tactile Scarpa's relationship and play with shadows in the courtyard façade intrigues the visuals by creating tension and reflection in his architecture, this contrasts with the pre established façade from the 1924 intervention by Ferdinando Forlati, who imposes Neo Gothic motifs into the apertures which contrast with the existing character of the courtyard. Scarpa intervenes with this feature that was established by pushing back the glazing on the frontage and having the floor planes and mullions intersect the view of the Neo Gothic windows.
20
The theme of tactility and materiality is explored in the exploration of the gallery spaces, particularly in the doorways between the different exhibitions, Scarpa explored the materiality of the prune stone slabs that were laid down on the existing gallery and turned it up against the wall to see the junction that rough stone can have against a polished concrete floor. He was intrigued by the “roughness that he raised them all up and had ones to match on the other side” of the whole whole gallery space to add surface interest in the gallery spaces. Melbourne School of Design. Richard Murphy Interview 51:25 Fig 11. Ground Floor Gallery Fig 12. Ground Floor Exit to Courtyard
20
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“Its an idea that it’s made out of planes at even little tiny windows with one single mullion set off the centre sets up a sort of tension with the existing… All those ideas of an eroded masonry façade which then has connections behind a new screen.”
Urban Context and Site History
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Cities. Page 11 22
22 An accumulative of 40% of the building was damaged due to bombardment and further weathering and disrepair under the control of the GDR, and following the reunification of Germany in 1990, with control being handed back to Federal Republic of Germany, the plan of redevelopment of East Berlin was initiated. A competition of the restoration of the Neues Museum was opening in 1993/4 and 1994 7 with Chipperfield winning the competition for a proposal to reunify the circulation strategy of the building and to retain as much of the existing context of the building as possible. Calvino, Italo. Invisible David Chipperfield Architect’s. Neues Museum Berlin Page 76 Fig 13. Figure Ground plan of Berlin, Germany.
“The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets… Every segment marked in turn with Scratches, indentations, scrolls.”
David Chipperfield’s intervention of Friedrich August Stulers’ Neues Museum demonstrates the importance to preserve and retain as much of the history of a building as we can, even if the building has be subject to torment and decay which is expressed in the skin of the building. Stuler’s Neues Museum had finished construction in 1855 which was under the masterplan of King Frederick William IV of Prussia to establish a new cultural centre in the heart of Berlin. The museum was critically damaged by the effects of the Second World War, primarily in the stairwell hall, the Egyptian Courtyard and the west façade, the effects of “Repeated Allied bombings and finally the fierce batter for Berlin in 1945 left the building barely standing.”
Shane Docherty 190006867 Chapter 2: Architectural Analysis of David Chipperfield’s Neues Museum
23 The damage inflicted on the Neues Museum is said to have been “subjected to the hand of history’s brutally accelerated aging process”24 which resulted in the decision that this building was to be restored in a way that the remaining integrity of the building was not further compromised by an intervention that simply branded thr building as a romanticisation of a ruin or a complete imitation of the pre-war interior spaces.
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Fig 16. Post War External Facade
Fig 17. Post War External Facade
23 David Chipperfield Architect’s. Neues Museum Berlin. Page 73 24 David Chipperfield Architect’s. Neues Museum Berlin. Page 75
Fig 14. Figure Ground plan of Berlin, Germany. Fig 15. Chipperfield Competition Diagram
The condition of the Neues Museum after the collapse of the GDR’s occupation of East Germany was in ruins. An attempt was made to restore the Altes Museum to its pre war condition as well as other buildings on Museum Island, but near to no work was made on the Neues museum with bricks to repair the stairwell hall from total structural collapse being the only intervention that was made after the Second World War. This description demonstrates the state of disrepair of Museum Island in 1978: “To the right was the Neues Museum, completely ruined and without hope, behind it that ludicrous Grunderzeit wedding cake, the Nationalgalerie.”
25 25 David Chipperfield Architect’s. Neues Museum Berlin. Page 35 Fig 18. Axonometric of
Museum
It was crucial for public engagement and debate over the decisions that Chipperfield and Harrap were making in this restoration of the Neues Museum, ensuring public ownership and debate as the fundamentals of the design process. This allowed a diversity of professional opinions from various fields to be heard on how the contemporary practice was to engage with the existing historic fabric. Guarantee that the ruins of the existed building were preserved and protected against any contemporary insertion was established in 1964, in the Venice Charter for the Conservation and restoration of Monuments and Sites, but this legislation does not directly discuss the conjunction of contemporary design into a historic builidng, so the debate of whether the ruins should be celebrated or erased was discussed: “Others have called for ‘total’ restoration, which would only have been possible by glossing over the past. Yet others may prefer a museum neutered to a sterile museality.” Neues
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This abstract is from an interview with David Chipperfield and Wolfgang Wolters discussing the design decisions around the Neues Museum and architectural precedents for this type of intervention: “Are there precedents for this procedure? They do exist in the Italian post war tradition… you freeze history with the ruin and then, like Alberto Molino, Franco Albini or Carlo Scarpa, you add a new element with great care and attention to detail.”
27
30 26 Moore, Rowan. Neues Museum by David Chipperfield Architect, Berlin, Germany
Intervention Strategy and Key Moves
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27 Moore, Rowan. Neues Museum by David Chipperfield Architect, Berlin, Germany
28 Chipperfield adds on this discussion that if the design proposal were to completely contrast the elements of the old and new, that this strategy would work in the situation of ‘installation’ or ‘insertion’ re use architecture, or in the event that the existing building was no longer structurally stable. But in the particular circumstances of the Neues Museum it was vital that the old and new were integrated in a way that they read as the one time period and not so that: “It freezes the past as being a caricature of the past and freezes the new as a caricature of the modern.”
Chipperfield and Harrap’s approach to the restoration of the existing features of the building was very much dependant on the guidance they received from the city council, and professionals in respective fields of conservation and intervention architecture. The character of the Neues Museum in Chipperfield’s explanation was to “retain the spirit of the ruin he found” 26 and to integrate the decayed fragments of the existing building with the new elements uses to repair the structural damage in a way to precent a “demonstration of damage, but of the beauty that was there.’”
Julian Harrap’s influence on the ‘soft restoration’ of the Neues museum was to retain as much of the building in its existing character and to find materials with similar textures and pigmentation, which will help to blend into the fabric of the building without the appearance of creating something pastiche or inappropriate to the context: “Soft restoration keeps everything that is original and makes sure nothing synthetic creeps in. Don’t take off the render on the face and redo the whole thing. Keep it, paint it, use the same colour but make sure it is now seen to be new. Not glaringly evident but then not faking it either.”
29 Weaver, Thomas. David Chipperfield Architectural Works 1990 2002. Page 25 30 David Chipperfield Architect’s. Neues Museum Berlin. Page 230 Fig 19. Circulation Model
28 Weaver, Thomas. David Chipperfield Architectural Works 1990 2002. Page 13
Fig 21. Chipperfield Stairwell Hall
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Fig 20. Pre war Stairwell Hall
31 Chipperfield acknowledges the importance of human scale and the urban scale and the relationship this has on the human experience This has been addressed in his competition proposal in 1994 for the Neues Museum by repairing the west façade to reconnect the circulation strategy around the building. Designing of a series of spaces that link together in the format of a serial vision is similar to Scarpas process of designing which has been important in establishing key spaces: “The elements I like (Chipperfield) are the ones that say things about the human condition or a person’s
31 Rykwert, Joseph. David Chipperfield brings understated glory back to Berlin’s Neues Museum.
In Stuler’s vision of the staircase hall the visitor was the ascend the stair with a panoramic vision of all human history and achievement, which was illustrated in Kaulbach’s ‘History of Mankind’ containing 6 frescoes that was completed in 1860. Unfortunetely this piece was destroyed in 1943 due to bombings in the Second World War along with the staircase that was accompanied with it. Chipperfield has redefined this space as a whole by introducing a new stairway that followings the pre existing proportions of Stulers stairway. It is constructed of concrete that uses local aggregate and white marble pigmentation which inserts itself into the space as the centrepiece, as was the original intensions of Stuler for this hall, blending with the natural lighting and the brick wall. “The most impressive space in the building was the central stairway: Stuler has intended it to be the heart of his building… Chipperfield has respected the proportions and the spatial organisation, but has given the hall a novel gravity, a weight that the beauty of the detailing redeems and refines.”
Circulation Strategy
Although delicate intervention is executed with the help of restoration architect Julian Harrap, criticism is given to Chipperfield’s intervention in areas of the Neues Museum that was affected most with bombardment, allowing creative takeover in areas such as the Egyptian and Greek internal courtyards.
34 David Chipperfield Architect’s. Neues Museum Berlin. Page 103
33 Moore, Rowan. Neues Museum by David Chipperfield Architect, Berlin, Germany
32
33 It could be suggested that although Chipperfield had the creative licence to intervene with these areas, they were not executed in the same way that Scarpa’s structure integrates into the existing fabric of the ground floor at Castelvecchio, opening up the space for exhibitions while being subtle and the imposition of Chipperfield’s new structure is crude in comparison. In contrast to these criticisms, Chipperfield’s large involvement with this space, as well as other spaces that he added his own interpretation in the intervention, was primarily to stabilise the existing structure of the brickwork wall and to use framed glass to allow as much soft skylight to come down into these spaces: “The largely rebuilt, top lit Egyptian and Greek courtyards are covered with new lightweight ferro vitreous roofs in order to assist the stabilisation of the overall structure. These roofs are differently supported in each instance by Chipperfield’s ‘standard’ 50 x 50 cm reinforced concrete piers.”
32 Weaver, Thomas. David Chipperfield Architectural Works 1990 2002. Page 19
Where Chipperfield expresses his own architectural language in the circumstances that reconstruction of existing material was prohibited in this project: “Although I don’t get Chipperfield’s faith in tall square pillars, which appear here and there. They let down the subtlety of the rest.”
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34
relationship to the larger scale… Every window is a picture frame. The building is successful because it is very humane.”
Fig 22. Chipperfield Stairwell Hall
The Tectonics
The Tactile Chipperfield has expressed the tactility of space, mainly in the treatment of the stairwell hall, by exposing the trauma that the brick has endured and the effects of weathering and deterioration over a period of 60 years. The way the restoration was challenged by Chipperfield and Harrap creates a whole unifying space without the effects of damage becoming too overbearing, this was achieved by illustrating “A complete language of brick, enunciated by the different layering, shades and surfaces laid bare for us by walls and vaulting, starts to resonate as part of that spectrum of damage presented to us.”
35 David Chipperfield Architect’s. Neues Museum Berlin. Page 51
All the conventional exploratory research was undertaken, including the sourcing of the stone and terracotta and encaustic tiling, to enable conservative renewal to be undertaken.”
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36
36 David Chipperfield Architect’s. Neues Museum Berlin Page 125 Fig 23. Greek Courtyard
35 Chipperfield achieved this treatment by repairing the damaged segments of the wall by reusing brickwork from the Neues Museum and several other building that had similar pigmentation and character, with minimum interference of the brickwork that was still in reasonable condition.
In respect to the restoration section of this intervention project, parts of the clients’ requirements and guidelines for this project was to repair the building in a way to reveal the wounds and damage that the building has endured, but this requirement was balance was needed with the restoration of the floor surfaces: “The conservation of the floor surfaces could perhaps be construed as something of a compromise…
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Harrap’s decision to repair the floor of the gallery spaces to a good finish and to bring it back to the original condition before the war was to account for the account of traffic passing through these spaces, anticipating 1 million visitors per year, which was one of the only compromises that they made in the design against the established conditions of the intervention rules by the client to account for the wear and tear that these spaces will have in time.
Conclusion To Conclude, evidence demonstrates that Carlo Scarpa established a framework for intervention architecture through his working methods of excavation and construction to integrate contemporary practice into the historic fabrics which is best demonstrated at Castelvecchio Museum, Verona. Scarpa explored the themes of tension, circulation and lighting and how public engagement with circulation systems can create a more engaging and interactive environment and demonstrated the impact that tension can have in the assembly of tectonics to create a dynamic relationship with the past and present. David Chipperfield has conveyed these aspects of design in his Neues Museum with a sensitivity to the decay and destruction that the impacts of bombardment and neglect can have on a building and restoring these fragments of the building in a contemporary manner so as not to contrast the old and new. Chipperfield has demonstrated the importance of circulation in his building with the repair of the stairwell hall and the demonstration of tactility in the memory and scars of the materiality of the building. Therefore it can be seen that Scarpa has ben used as a precedent for contemporary practice in the field of intervention architecture. Fig 24. Egyptian Courtyard
d) Weaver, Thomas. David Chipperfield Architectural Works 1990 2002. New York: Princeton Architectural Press. 2003. a. Pages: 13,19, 25 e) Calvino, Italo. Invisible Cities, Secker & Warburg. 1973. a. Pages 11, 88 f) Ruskin, John. Seven Lamps on Architecture. Smith, Elder & Co. 1849. a. Page 186 g) Melbourne School of Design. Richard Murphy Interview on Carlo Scarpa: Remodelling the Castelvecchio Museum Australian Centre for Architectural History, Urban and Cultural heritage. Published 17/11/2017. a. Source: Carlo Scarpa: Remodelling the Castelvecchio Museum b. Times referenced; 13:30,14:25, 41:11, 46:39, 51:25
a. Source: https://www.architectural review.com/today/neues museum by david chipperfield architects berlin germany
a) Lieto, Alba di. Carlo Scarpa, Architect: Intervening with History. Canadian Centre for Architecture, Montreal. 1999. a. Pages: 10, 12, 14, 68, 238
c) David Chipperfield Architect’s. Neues Museum Berlin. Verlag der Buchhandlung Walther Konig, Germany. 2009. a. Pages: 11, 35, 51, 73, 75, 76, 103, 125, 230
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Bibliography
b) Smith, Korydon. Introducing Architectural Theory: Debating a Discipline. Routledge, New York and London. 2012 a. Pages: 127, 132, 156, 185
h) Moore, Rowan. Neues Museum by David Chipperfield Architect, Berlin, Germany. The Architectural Review, 01.05.2009.
Shane Docherty 190006867 i) Rykwert, Joseph. David Chipperfield brings understated glory back to Berlin’s Neues Museum. The Architectural Review, Vol. 226, Page 22 Image Bibliography Figure 1: Authors own image. Figure 2: Authors own image Figure 3:Image Source: https://www.archiobjects.org/museo castelvecchio verona italy carlo scarpa/ Figure 4:Image Source: https://www.archdaily.com/806246/castelvecchio museum nil the east wing filippo bricolo and bricolo falsarella associates/58b4e4c8e58ece9a030000cb castelvecchio museum Figurenil-the-east-wing-filippo-bricolo-and-bricolo-falsarella-associates-diagram?next_project=no5:ImageSource:https://www.archdaily.com/806246/castelvecchiomuseumniltheeast wing filippo bricolo and bricolo falsarella associates/58b4e4c8e58ece9a030000cb castelvecchio museum nil the east wing filippo bricolo and bricolo falsarella associates diagram?next_project=no Figure 6: Authors own image Figure 7: Authors own image Figure 8:
Shane Docherty 190006867 Image Source: https://www.archdaily.com/806246/castelvecchio museum nil the east wing FigureFigureFigureFigureFigureFigureFigureFigureFigureFigureImageFigurenilfilippo-bricolo-and-bricolo-falsarella-associates/58b4e4c8e58ece9a030000cb-castelvecchio-museum-theeastwingfilippobricoloandbricolofalsarellaassociatesdiagram?next_project=no9:Source:https://www.archiobjects.org/museocastelvecchioveronaitalycarloscarpa/10:ImageSource:https://www.archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/11:ImageSource:https://www.archiobjects.org/museocastelvecchioveronaitalycarloscarpa/12:ImageSource:https://www.archiobjects.org/museocastelvecchioveronaitalycarloscarpa/13:Authorsownimage14:Authorsownimage15:ImageSource:https://davidchipperfield.com/project/neues_museum16:ImageSource:https://davidchipperfield.com/project/neues_museum17:ImageSource:https://davidchipperfield.com/project/neues_museum18:Authorsownimage19:
Figure 22:Image Source: https://davidchipperfield.com/project/neues_museum
Image Source: https://davidchipperfield.com/project/neues_museum
Figure 20:Image Source: https://davidchipperfield.com/project/neues_museum
Figure 21:Image Source: https://davidchipperfield.com/project/neues_museum
Shane Docherty 190006867