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Carlo Scarpa

Corrosi, no. 4116, glass, 1936

Private Colletion / The Met

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Perfil 2024 (2)

A.L.Moure Strangis

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Uboa

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Jose Irion Neto - untitled - 24-04-2024

Source: Glitch artists collective - Facebook

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mars black

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UK 1987

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Castelvecchio Museum - Carlo Scarpa, 1973

a series of interventions to an existing space which allow for the building's history to be remembered

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close: roger stevens building - leeds

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Carlo Scarpa The House on the Grand Canal イタリア出身の建築家、カルロ・スカルパの作品集。ヴェネツィアの大運河、カナル・グランデにある「バルポーニ邸」の改修プロジェクトを収録。 1964年から1968年にかけて、コレクターであり美術商のバルボーニの為にスカルパがこの邸宅を修復。 2008年バルボーニ亡後、新たな所有者の手に渡り、必要な修復作業が可能な限り行われ、建物のあらゆる側面を把握することが可能になった。バルボーニ邸の歴史がアーカイブ調査に基づいて明らかにされ、これまで知られていなかった多くのドローイングも公開された。

ISBN-10: 8892822500, 13: 978-8892822504 p.128, 30 x 24 cm 2022

Carlo Scarpa: The House on the Grand Canal

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Tempio Mariano di Monte Grisa (1963-65) in Trieste, Italy, by Antonio Guacci. Photo by Jamie McGregor Smith.

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Uggleviksreservoaren water reservoir, by Paul Hedqvist (1935).

Stockholm, Sweden.

© Roberto Conte (2024)

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Cyrus Amini by Sasha Munaev

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Castelvecchio, the museum inside a 14th century castle, without doubt is Carlo Scarpa’s magnum opus: for almost two decades he worked on its transformation in a continuous process guided by the building’s history. Exploring it Scarpa frequently discovered new aspects and historical layers to which he reacted in his designs, a modus operandi pivotal to the understanding of his architecture. In line with the Castelvecchio’s importance it also takes up considerable space in Robert McCarter’s Scarpa monograph, first published in 2013 by Phaidon: along some 20 projects the author chronologically explores Scarpa’s oeuvre in a remarkably atmospheric manner, i.e. by describing his experiences of the buildings which are then supplemented with biographical and historical information. In so doing McCarter effectively brings the reader close to the first-hand experience of Scarpa’s architecture, experiences he seems to be very fond of as he (rightly) describes them as transformative.

Another well-known aspect of Scarpa’s work that bears repeating is his focus on craft and his ingenious ability to make the most of it: already in his introduction, tellingly captioned „verum ipsum factum“, McCarter emphasizes Scarpa’s infallible attention to detail that eventually made him a regular presence at each building site, a fact that is further underscored by his practice of drawing and sketching on site instead of handing working drawings to his craftsmen and workers. Unfortunately of these drawings there aren’t that many included in the book, a bearable flaw in view of the excellent photos and the numerous other publications on Scarpa’s work. Robert McCarter’s monograph surely is both a perfect introduction to Carlo Scarpa and an insightful read for those already familiar with his fascinating work and thus a highly recommended read!

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source

Haverst on Instagram

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antique butterfly salad tongs sourced by tarro tarro ⋆