MODERN

ARCHITECT
(HISTORY OF
ARACHITECTURE-II)

‘A MASTER WHO WORKED IN SILENCE’

TRIPTA,
KAYENAT,
KHUSHBOO,
FEROZE (1906-1978) 
 INTRODUCTION
• CARLO ALBERTO SCARPA WAS BORN IN VENICE, ON 2ND JUNE, 1906.

• HIS FATHER, ANTONIO SCARPA, A STRICT CATHOLIC WAS THE

ELEMENTARY SCHOOL TEACHER.

• HIS MOTHER EMMA NOVELLO WAS A DRESSMAKER.

• HIS FAMILY MOVED TO VICENZA WHEN HE WAS 2 YEARS OLD.

• AFTER FINISHING ELEMENTARY SCHOOL, HE ENTERED THE

TECHNICAL HIGH SCHOOL IN VICENZA.

• IN 1919 AFTER HIS MOTHER’S DEATH THEY RETURNED TO VENICE.

• IN THE SAME YEAR HE ENROLLED IN THE ACCADEMIA DELLE BELLE

ARTI SPECIALISING IN ARCHITECTURAL DESIGN.

• HE DIED ON 28TH NOV 1978 IN SENDIA , JAPAN.

  ABOUT HIS DESIGN 
• HIS WORK IS ALIVE WITH JOYOUS RAPPORT WITH PAST AND
PRESENT.

• INCORPORATED HISTORY AND TRADITION IN ARCHITECTURE.

• LOGICAL AND RATIONAL CREATIONS WHICH MEETS FUNCTIONAL

REQUIREMENTS.

• USED PROPORTION AND GEOMETRY AND MANIPULATED MATERIALS,

COLOURS AND LIGHT.

• AIM WAS CREATING FORMS WHICH COMMUNICATE POETIC

CONTENT , SPIRIT OF ITS CREATOR AND THE SOCIETY IN WHICH HE
LIVED.

• HIS WORK IS TRANSCENDENT BECAUSE OF ITS REMARKABLE

CONSISTENCY.
The Castelvecchio Museum is located in the eponymus castle, built between
14TH – 15TH century.

The museum was restored by Carlo Scarpa, one of the leading italian architects
of the 20TH century. Between 1959 and 1973 Scarpa, with his unique
architectural style, enhanced both the appearance of the building and the
exhibits.

One of the main museums in town, it displays a wide collection of statues,

sculptures, objects. Paintings include masterpieces of Mantegna, Bellini,
Pisanello.
 MUSEO DI CASTELVECCHIO,
VERONA, 1957-64, VIEW OF SCULPTURE GALLERIES
 MUSEO DI CASTELVECCHIO,
VERONA, 1957-64, VIEW OF EQUESTRIAN STATUE
OF CANGRANDE
MUSEO DI CASTELVECCHIO,
VERONA, 1957-64, SFALSATA
Dan Hill at City of Sound reminds us of Carlo Scarpa’s incredible private
cemetery (he’s buried in the grounds) was built for the Brion family at San Vito
d’Altivole, Italy, and completed in 1978. This construction and other Scarpa
buildings often come to mind after encountering some disastrous use of
concrete in architecture. Scarpa, like Frank Lloyd Wright, shows how well that
meanest of building materials could be used with the application of care and
imagination. And Scarpa, like Wright, also favoured attention to detail, with the
cemetery providing copious examples of this, notably the motif of a pair of
interlaced circles which feature as a prominent window design and recur in
tiny elements elsewhere.

The Brion Tomb (1969–78) is a private tomb – "a city of the dead" – for the
Brion family near Treviso, Italy. For the Brion Tomb, Scarpa established a
new landscape within an old one, constructed a complex narrative out of
startlingly fresh free-standing forms, and explored radical design and
construction techniques to effect them.
 BRION CEMETERY COMPLEX,
SAN VITO DI ALTIVOLE (TREVISO), 1970-
78
 BRION CEMETERY COMPLEX,
SAN VITO DI ALTIVOLE (TREVISO), 1970-
78
….The place for
the dead is a
garden….I
wanted to show
some ways in
which you could
approach death
in a social and
civic way; and
further what
meaning there
was in death, in
the ephemerality
of life—other than
these shoe-
boxes.” Carlo
Scarpa
BRION CEMETERY COMPLEX,
SAN VITO DI ALTIVOLE (TREVISO), 1970-
78
 BRION CEMETERY COMPLEX,
SAN VITO DI ALTIVOLE (TREVISO), 1970-
78
THIS TRANSFERS THE A COIL THAT PROVIDES
CABLE THROUGH THE TENSION FOR THE
WALL.  CABLES IN

 A DRAIN FOR WATER UNDER

THE PRIMARY TOMB.
 IT KEEPS THE CONCRETE CORNER FROM ERO

THIS CONSTELLATION OF CABLES

PART OF A LOW FENCE TO CARRIES THE COUNTERWEIGHT
STOP CHILDREN FROM FOR A DOOR THAT SLIDES UP AND
PORTAL
SOME INTERIORS DONE BY CARLO
SCARPA
BPV BUILDING
BPV BUILDING
 MUSEO DI CASTELVECCHIO,
VERONA, 1957-64, VIEW OF EQUESTRIAN STATUE
BIENNAL BIENNALE
E
VILLA OTTOLENGHI , BARDOLINO ,
ITALIA , 1975 .
Dan Hill at City of Sound reminds us of Carlo
Scarpa’s incredible private cemetery (he’s
buried in the grounds) was built for the Brion
family at San Vito d’Altivole, Italy, and
completed in 1978. This construction and other
Scarpa buildings often come to mind after
encountering some disastrous use of concrete in
architecture. Scarpa, like Frank Lloyd Wright,
shows how well that meanest of building
materials could be used with the application of
care and imagination. And Scarpa, like Wright,
also favoured attention to detail, with the
cemetery providing copious examples of this, OLIVETTI
Carlo Scarpa's Syneasthetic drawing
for the design of Frank Lloyd Wright's
exhibition at XII Triennale di Milano
1960, sectional study of the ceiling
and illumination.
 SALK INSTITUE
CONNECTED TO METAPHISYCAL
BODIES