Carlo Scarpa (June 2, – November 28, ) is best known for his instinctive approach Spotlight: Carlo Scarpa, Museo Castelvecchio. Castelvecchio Museum is a museum in Verona, northern Italy, located in the eponymous medieval castle. Restoration by the architect Carlo Scarpa between. Carlo Scarpa and Castelvecchio Revisited on *FREE* shipping on qualifying offers.

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Carlo Scarpa worked on the Castelvecchio Museum in Verona intermittently between and It is perhaps his most important project. His work there draws on all his remarkable skills. It demonstrates how to work creatively within a building which already possesses a complex history. It is a magnificent example of his highly personal language of architecture, not least his incredible eye for castelvecchio and mastery of the crafting of materials. And it contains a museum exhibition which is as radical and timeless today as the day it opened in and has served as an inspiration to museum designers ever since.

His most extraordinary achievement is where all these themes coincide in the astonishing display of the equestrian statue of Cangrande, perhaps the most remarkable setting for a single work of art ever made. However, Carlo Scarpa and Castelvecchio Revisited is in many ways unrecognizable from its predecessor.

Maharam | Story | Carlo Scarpa: Castelvecchio

It is neither a second edition nor is it a completely new analysis. It has started with the publication but the format is larger and pages have grown to Almost twice as many Scarpa drawings have been selected some were unknown inand this time they are printed in colour with a reference system to guide the reader to details within them. Large sections of the accompanying text have been rewritten and expanded and there are two new chapters.

Perhaps most importantly there are many more photographs, both of the building at various phases of its complex life but also superb contemporary colour photography by Peter Guthrie assisted by Matthew Hyndman.

The majority of the book is divided into five areas in the order in which a visitor encounters them: There are also two chapters by Alba Di Lieto. Carlo Scarpa was born in Venice on 2 June His family moved to Vicenza in but in his mother died and his father moved the family back to Venice. Scarpa enrolled at the Academy of Fine Arts between and where he took his Diploma.

His son, Tobia, was born in He taught interior design and drawing at the University in Venice for most of his life but never took the professional examinations to become an architect. Scarpa moved to Asolo in and in moved again, this time back to Vicenza. In during a visit to Japan he tripped down a staircase in Sendai and died a few days later.

His body was brought back to Italy and buried, according to his wishes, between the village gravestones and his own creation of the Brion family Cemetery outside the village of S. Vito di Altivole, just south of Asolo. Scarpa worked on the remodelling of the Castelvecchio Museum, Verona in two main phases between and with additional phases completed in and The project sits centrally in his career amongst his major works.


It is preceded by the Olivetti Showroom, Venice and the museum projects at Palermo, Possagno and Correr Museum, Venice; and is followed by the Ottolenghi House, the posthumously completed headquarters of the Banca Popolare di Verona and the most profound project of his opus, the aforementioned Brion cemetery at S.

When Scarpa died in very little of his work had been published. This was the first of what has since become a proliferation of publications, seemingly without end.

Perhaps it is because, as Bruno Zevi has rightly pointed out, he left us no memorably inventive plans. More likely, however, is the relative inaccessibility of his work through the medium of photographs and the written word. All great buildings once visited usually exceed the expectations of the informed visitor, but rarely to the degree experienced with those of Scarpa.

In his case photographs are a wholly inadequate preparation. Only directly can the rich sensory experience of his architecture be revealed: To comprehend fully his genius one car,o to move through his spaces with all senses alert and working together.

Firstly of course it is a museum, and permanent and temporary exhibition castslvecchio is the field of work that Scarpa made his own and in which, probably, his influence is at its greatest.

Castelvecchio is certainly the largest example and contains a whole variety of spaces for displaying art, not least of course, the extraordinary setting of the equestrian statue of Cangrande.

Carlo Scarpa and Castelvecchio Revisited

Castelvevchio, the Castelvecchio is an intervention in an historic structure, and is the most complex and didactic of them all particularly considering the way in which Scarpa set about to display the many different layers of history pre-existing his own intervention. Until Scarpa, architectural energy expended on working within existing buildings was not considered mainstream.

Since Scarpa, and Castelvecchio in particular, it is considered just as valid as new constructions. It also contains the largest collection of examples of his celebrated detailing.

Staircases, doors, windows, handles, junctions – all can be studied in abundance and have been documented in the measured drawings. The richness of the detailing and the density of design answer to a scadpa the criticism of the lack of both in much of twentieth century castlvecchio.

It is however not without roots and in particular the reinterpretation of Venice is a phenomenon we can trace in all his buildings. Finally, Castelvecchio is unusual in that the Museum owns and has catalogued almost all the surviving drawings for the project.

So the designing and making of the building can also be studied; a series of private design journeys made available to all through the examination of the development of ideas through sequences of drawings. The drawings also bear witness to the remarkable series of relationships between Scarpa and Magagnato, the Commune, his assistants Arrigo Rudi and Angelo Rudella and, not least, the craftsmen and artisans who realised his ideas.


And for the visitor to the Museum itself, it is hoped that the study will act as both a useful guide and worthy souvenir. Murphy has proved me wrong on this last count by publishing the new enlarged, expanded and exhaustively illustrated edition of what was already considered a canonical study of Carlo Scarpa and his greatest work, the Castelvecchio.

I have long considered the single-building monograph to be the most compelling and effective way to present the qualities and character of the building, as well as the design process and ordering principles of its architect. Murphy has now given us—yet again—not only the canonical study of the Castelvecchio and its architect, but what will undoubtedly be recognized as one of the most comprehensive and insightful single-building monographs ever published. I am confident in saying this second edition will never be surpassed, for there is nothing left unsaid or unexplored regarding the building or its architect.

Murphy, along with Giancarlo di Carlo working in Urbino, can rightly be considered as the pioneer, the initiators of a structured approach to the task of altering existing works of architecture.

The publication of this new edition will help to counter the dumb cqstelvecchio of some recent work across Europe and beyond. It will also one hopes help to begin a conversation that is still lacking in this country scaepa designers, architects and historians with regard to the proprieties and otherwise, approaches to be encouraged and those that should be forbidden.

This is a search for the absolute essence of architecture, conducted with exemplary scholarship and lifelong enthusiasm. Richard Murphy was educated at Newcastle University and then at Edinburgh University where he later taught. His researches into the work of the Venetian Architect, Carlo Scarpa, at the Castelvecchio, Verona began in and culminated in exhibitions in Edinburgh, London and Verona, a book castelvcchio Scarpa and Castelvecchio” published in by Butterworth Heinemann and in Italian by Arsenale in and countless lectures on six continents.

He presented a film for Channel 4 on Scarpa directed by Murray Grigor which was first broadcast in csrlo He lives in the dcarpa of the Edinburgh New Town in a house he designed for himself. In he founded the practice of Richard Murphy Architects in Edinburgh.

Two books have been published on his work: He is a frequent contributor to architectural journals where his work has also been reviewed on many occasions. Site by Redstone Websites.

Castelvecchio Museum

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The Importance of Castelvecchio. What the Critics Say.