Carlo Scarpa
Carlo Scarpa ( born June 2, 1906 in Venice, Dorsoduro, † November 28, 1978 in Sendai, Japan ) was an Italian architect, who is one of the most important representatives of the influenced by Frank Lloyd Wright, organic architecture in Italy. Through his teaching, but also through his designs and projects, he shaped the architecture of the 20th century. In particular, by the additive joining the New to the Old put Scarpa's buildings in dealing with a historic structure new standards, which were also for German architects of importance later.
Life
Scarpa completed his studies at the Academy of Arts in Architecture from Venice drawing. From 1926, he held various positions at the assistant only newly founded IUAV in Venice, where he worked as a lecturer and finally from 1962 was a professor from 1933. 1927 began two decades of isolation that characterized his first creative period until 1947 for Scarpa. Away from the emerging in the Fascist era architectural debates and confrontations he spent those years mainly in the workshops of Murano, where he dealt intensively with the glass art and designs for the company Venini Murano. Here the design of a ten-page, light gray " Inciso " falls to " vase, executed by the glass engraver Franz Pelzel who knew the vase with numerous spherical ground joints.
In 1945 he took up teaching in the fields of arts and crafts and industrial design on back. Only in 1948, with the establishment of the Paul Klee exhibition of the XXIV Biennale in Venice, began a new phase, which was accompanied by numerous projects and his isolation ended for Scarpa. From about 1950 he began with the realization of larger construction projects. As a practicing architect Scarpa nevertheless remained largely isolated from contemporary trends and trod the path of a rather outgoing and incoming from the other architects loner.
Significant influence on Scarpa's work practices, especially Frank Lloyd Wright: built The Casa Romanelli in Udine (1950-1955) or the 1950 temporary pavilion for the art book ( Padiglione del Libro ) in Venice underline the close proximity Scarpa to Wright's buildings. This particular relationship describes Scarpa himself as follows: "I have always admired Mies and Aalto, but for me the work of Wright as ' illuminating flash ' (...) In some of my buildings was the first year I believe myself the limit of to have approached submission. " In the future, however, succeed Scarpa to find a very unique interpretation of the work of Frank Lloyd Wright to a own way and not to succumb to such a purely formal adaptation of the expressive late works of Wright.
To Scarpa's design principles include the following years mainly his special appreciation for nature, his affection for Japanese architecture, the interior decoration and garden art, his subtle handling of the encountered place and the deliberate emphasis on the artisan tradition, his meticulousness in the treatment of architectural details and the high tactile qualities of the chosen materials he. Scarpa is a native language that distinguish it from other architects - clearly distinguishes - even by those who are associated with the organic architecture.
1955 Scarpa was awarded a doctorate honoris causa, as well as various awards and prizes (eg the IN -ARCH National Award). Nevertheless, he was for years subject to attacks because he was not a trained architect, due to its conclusion in architectural representation. It was only in 1965 legitimized a court ruling its construction and the architect title.
In 1966 he participated in the exhibition " Museum Architecture " at the Museum of Modern Art in New York. This is followed by a longer stay in America followed, until he Director of the Faculty of Architecture in Venice in 1972.
The 1970s brought the cemetery Brion in San Vito d' Altivole and Banca Popolare di Verona, whose completion Carlo Scarpa did not live another two highly acclaimed masterpieces produced which, although increasingly dominated by the graphic element, but nevertheless the high architectural qualities of the overall work underpinned the long term.
At the age of 72 years Scarpa died as a result of a fall.
Scarpa and architecture
Scarpa's understanding of architecture is based firstly on a planning - conceptual approach and the other an in-depth knowledge of craftsmanship. Sketches and drawings are in the work of Scarpa particularly important, its intensive efforts to sketches and working drawings often led to breaks its construction activities.
Much like Robert Venturi, he sees one of the main aspects of the architecture in the symbolism. In this he is unlike venturi and other non superficially about the grand gesture, but it remains in the detail, like in the Ornamental and thus finds its own iconographic expression. As consistently builder he works out - about his detailed work plans - own pattern language is finding new formal modes of expression, but they are always arrested in the canon of temporary architecture.
The Museum of Applied Arts (Vienna) showed 1989/90, an exhibition entitled " Carlo Scarpa: The Other City / The Other City " and organizing in 2003 with " Carlo Scarpa: The Craft of Architecture" another showcase. The MAK Vienna could further 1999 draft - among other things, the Museo di Castelvecchio in Verona ( 1956-1964 ), the Galleria Querini Stampalia in Venice ( 1961-1963 ) and the Tomba Brion ( 1970-1978 ) - as well as furniture design sketches and wooden models for detailed solutions such as purchase, the sketches of a table for the composer Luigi Nono and thus maintains a limited archive of works of the architect.
Extension to the gallery of plaster casts del Canova in Possagno (TV), 1956-1957
Castelvecchio museum in Verona, 1958-1964
Castelvecchio museum in Verona, 1958-1964
Brion Cemetery in San Vito d' Altivole (TV), 1970-1973
Brion Cemetery in San Vito d' Altivole (TV), 1970-1973