Carlo Scarpa
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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 organic architecture in Italy, which was influenced by Frank Lloyd Wright . Through his teaching activities, but also through his designs and projects, he shaped the architecture of the 20th century. In particular, through the additive joining of the new to the old, Scarpa's buildings set new standards in dealing with historical building fabric, which later also became important for German architects.
Life
Scarpa graduated from the Venice Academy of Fine Arts in architectural drawing. From 1926 on he held various assistant positions at the newly founded IUAV in Venice, where he worked as a lecturer from 1933 and finally as a professor from 1962. In 1927 the two decades of isolation began for Scarpa, which shaped his first creative phase until 1947. Apart from the architectural debates and confrontations that arose in the fascist era, he spent those years mainly in the Murano workshops , where he dealt intensively with glass art and designs for the Venini company from Murano. The design of a ten-sided, light-gray “Inciso” vase by the glass engraver Franz Pelzel, who provided the vase with numerous spherical cuts, is striking.
From 1945 he resumed teaching in the fields of handicrafts and industrial design. It was not until 1948, with the establishment of the Paul Klee exhibition for the XXIV Venice Biennale , that a new phase began for Scarpa, which was accompanied by numerous projects and ended his isolation. From around 1950 he began to carry out major construction projects. As a practicing architect, Scarpa remained largely isolated from contemporary trends and rather followed the path of a loner who separated himself from the other architects.
Frank Lloyd Wright in particular exerted a major influence on Scarpa's work : the Casa Romanelli in Udine (1950–1955) or the temporary pavilion for the art book ( Padiglione del Libro ) in Venice, built in 1950, underline Scarpa's close proximity to Wright's buildings . Scarpa himself described this special relationship as follows: “I have always admired Mies and Aalto, but for me Wright's work became the 'illuminating lightning bolt' (...) In some of my buildings in the first years I think I was approaching the limit of submission to have. " In the future, however, succeeded Scarpa to find a very distinctive interpretation of the work of Frank Lloyd Wright to a own way and not to succumb to such a purely formal adaptation of expressive late work of Wright.
In the following years, Scarpa's design maxims included above all his special appreciation for nature, his affection for Japanese architecture, interior design and garden art, his subtle handling of the found place and the deliberate emphasis on the traditional craftsmanship, his meticulous treatment of the architectural details as well as the high haptic qualities of the materials selected by him. Scarpa found his own language that clearly differentiates him from other architects - including those associated with organic architecture.
In 1955 Scarpa was awarded the honoris causa doctorate, as well as various awards and prizes (e.g. the IN-ARCH National Award). Nevertheless, he was exposed to attacks for years because he was not a trained architect due to his degree in architectural representation. It was not until 1965 that a court ruling legitimized his building activities and the title of architect.
In 1966 he took part in the "Museum Architecture" exhibition at the Museum of Modern Art in New York. This was followed by a longer stay in America until he became director of the architecture faculty in Venice in 1972.
With the Brion cemetery in San Vito d ' Altivole and the Banca Popolare di Verona, the completion of which Carlo Scarpa did not live to see, the 1970s produced two more highly regarded masterpieces that were increasingly dominated by the graphic element, but nevertheless the high architectural ones Sustainably underpinned the qualities of the entire work.
At the age of 72, Scarpa died of a fall in Sendai . His son is the designer and architect Tobia Scarpa .
Scarpa and the architecture
Scarpa's understanding of architecture is based on the one hand on a planning-conceptual approach and on the other hand on profound technical expertise. Hand sketches and drawings are particularly important in Scarpa's work; his intensive efforts to draw up sketches and work plans repeatedly led to breaks in his construction activities.
Similar to Robert Venturi , he sees one of the main aspects of architecture in symbolism. In contrast to Venturi and others, he is not primarily concerned with the grand gesture, but remains in the richness of detail, also in the ornamentation, and thus finds his own iconographic expression. As a consistent master builder, he developed his own pattern language - using his detailed work plans - and found new formal expressions, which, however, were always caught in the canon of temporary architecture.
The Museum of Applied Arts (Vienna) held an exhibition in 1989/90 with the title Carlo Scarpa: The Other City and in 2003 organized another exhibition with Carlo Scarpa: Das Handwerk der Architektur . The MAK Vienna was also able to produce designs in 1999 - including the Museo di Castelvecchio in Verona (1956–1964), the Galleria Querini Stampalia in Venice (1961–1963) and the Tomba Brion (1970–1978) - but also furniture design sketches and wooden models for detailed solutions such as B. acquire the design sketches of a table for the composer Luigi Nono , and thus maintains a limited archive of works by the architect.
Ticket booth for the Venice Biennale, 1952
Extension of the Gipsoteca del Canova in Possagno (TV), 1956–1957
Extension of the Gipsoteca del Canova in Possagno (TV), 1956–1957
Galleria Querini Stampalia in Venice, 1961–1963
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
Awards
Buildings
- 1944–1949: Reconstruction of the Accademia Gallery in Venice
- 1952: Ticket booth for the Venice Biennale
- 1950–1955: Casa Romanelli in Udine
- 1953–1954: Palazzo Abatellis (Galleria Regionale di Sicilia) in Palermo
- 1954–1956: Venezuelan pavilion in the Giardini di Castello in Venice
- 1956–1957: Gipsoteca del Canova in Possagno (with V. Pastor)
- 1959: Olivetti store in Venice (with G. D'Agaro and Carlo Maschietto)
- 1957–1960: Museo Correr in Venice
- 1955–1961: Casa Veritti in Udine (with Carlo Maschietto, F. Marconi, A. Morelli)
- 1961: Negozio Gavina in Bologna
- 1961–1963: Reconstruction of Palazzo Querini Stampalia in Venice (with Carlo Maschietto)
- 1958–1964: Museum Castelvecchio in Verona (with Carlo Maschietto and Arrigo Rudi)
- 1964: Casa Balboni in Venice (with Sergio Los and G. Soccol)
- 1963–1992: Reconstruction of the Revoltella Museum in Trieste
- 1970–1973: Expansion of the cemetery and the Brion tomb in San Vito d ' Altivole (with Carlo Maschietto and G. Pietropoli)
- 1974–1978: Banca Popolare di Verona (with Arrigo Rudi)
- 1974–1978: Casa Ottolenghi in Bardolino (with G. Tommasi, Carlo Maschietto and G. Pietropoli)
- 1966, 1972, 1985: Entrance to the Faculty of Architecture at the University of Venice (with Sergio Los )
literature
- Bianca Albertini / Sandro Bagnoli: Scarpa. Museums and exhibitions. Wasmuth, Tübingen 1992, ISBN 3-8030-0152-8 .
- Alfons Hannes (with contributions by Wolfgang Kermer and Erwin Eisch ): The Wolfgang Kermer Collection, Frauenau Glass Museum: Glass of the 20th Century; 50s and 70s . Schnell & Steiner, Munich, Zurich 1989 (= Bavarian Museums, Volume 9) ISBN 3-7954-0753-2 , p. 70 with illus.
- Peter Noever (Ed.): Carlo Scarpa. The Craft of Architecture / The Craft of Architecture , MAK exhibition catalog. Hatje Cantz Verlag, Ostfildern-Ruit 2003.
- Peter Noever (Ed.): Carlo Scarpa - the other city: the working method of the architect with the tomb Brion in S. Vito d'Altivole as an example / Carlo Scarpa - the other city , MAK exhibition catalog. Verlag Ernst, Berlin 1989, ISBN 3-433-02300-X
- Ada Francesca Marcianò: Carlo Scarpa, Verlag für Architektur Artemis, Zurich / Munich 1986. ISBN 3-7608-8119-X
- Karljosef Schattner : Scarpa as a role model and inspiration. In: Builder. Issue 10. Callwey, Munich 1981, pp. 990ff.
- en: Sergio Los (1967): “Carlo Scarpa Architetto Poeta”. CLUVA, Venice.
- Sergio Los (1995): “Carlo Scarpa, guida all'architettura”. Arsenale Editrice, Venezia. ISBN 88-7743-144-X
- Sergio Los (2009): “SCARPA”. Taschen, Koln. ISBN 978-3-8365-0758-5
Web links
- Literature by and about Carlo Scarpa in the catalog of the German National Library
- Carlo Scarpa. In: arch INFORM .
- Scarpa on studiocleo.com (English)
- Daniel A. Walser: I draw because I want to see it in: NZZ , November 2000
Individual evidence
- ↑ FAZ of October 2, 2010, p. 42
- ^ Ada Francesca Marcianò: Carlo Scarpa, Verlag für Architektur Artemis, Zurich / Munich 1986, p. 35
| personal data | |
|---|---|
| SURNAME | Scarpa, Carlo |
| BRIEF DESCRIPTION | Italian architect |
| DATE OF BIRTH | June 2, 1906 |
| PLACE OF BIRTH | Venice , Italy |
| DATE OF DEATH | November 28, 1978 |
| PLACE OF DEATH | Sendai , Japan |