THE SOUND OF SILENCE An Investigation into Minimal Impact Design Methodologies for the Remodelling of Historic Buildings
Gemma Louise Roberts January 2010 U30099
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A dissertation presented to the Department of Architecture, Oxford Brookes University, in part fulfilment of the regulations for BA (Hons) Interior Architecture: Design and Practice.
Statement of Originality: This dissertation is an original piece of work which is made available for copying with permission of the Head of the Department of Architecture Signed
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Figure 1: Carlo Scarpa. Castelvecchio
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Contents Introduction .......... 1 Chapter 1: Minimal Impact Design and Remodelling Architecture .......... 7 Chapter 2: Carlo Scarpa .......... 15 Chapter 3: Carlo Scarpa’s Application of Low Impact Design Methodologies .......... 29 Chapter 4: Further Application of Low Impact Design Methodologies: Sverre Fehn & Peter Zumthor ........ 48. Conclusion .......... 61 Bibliography .......... 68
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“To me buildings can have a beautiful silence that I associate with attributes such as composure, self evidence, durability, presence and integrity, and with warmth and sensuousness as well: a building that is being itself, being a building, not representing anything, just being�. Peter Zumthor (Zumthor, 2006)
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INTRODUCTION
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In a culture dominated by the fast turnover of products and ideas, we need reminding of the need to stop and listen. We live in a culture of consumerism, utilitarianism and mass production, as dictated by our society. The media suggests happiness can be reached through materialistic consumption, which is shifting our values of community, identity, and spirituality, to competition, detachment and possession. Only when we stop and listen will we realise happiness can be reached through spiritual values over material possessions, beauty over function, and interaction with people and objects over purchasing goods and services. Architecture can provide us with these values. The German/French sculpturer, painter, poet and abstract artist, Jean Arp, said, “Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices, that increase the noise and distract humanity from the essence of life, contemplation, meditation…” Jean Arp
http://www.brainyquote.com/quotes/authors/j/jean_arp.html
Arp suggests we have become a shouting and materialistic culture, only interested 2
Figure 2: Zumthor, Therme Vals
in ‘machines and devices’, but we urgently need to start listening to get back to ‘the essence of life’. Despite the dominance of this shouting culture, in the western world, this dissertation will raise awareness that this is not the only way to live. In terms of architecture, architects often endeavour their modern buildings to be attention seeking, ostentatious and prominent. However, this richness can be sought and found elsewhere. This dissertation will focus on how minimal impact design methodologies are used in the design of the remodelling of historic buildings. When the term ‘minimal impact’ is used many terms come to mind: ‘subtle integration’, ‘poetic appreciation’, ‘understated presence’, ‘sensitive composition’ and ‘exquisite refinement’. Although, minimal alterations may only have a small impact on the existing building but give a profound effect. Carlo Scarpa, the 20th century Italian designer, can teach us a great deal about using minimal impact strategies, within the context of remodelling historic buildings. The dissertation will pivot around his fundamental work, focussing on two of his main remodelling rehabilitation projects: Castelvecchio Museum, Verona, a 14th century Italian castle, and Querini Stampalia Foundation, Venice. Figure 3: Scarpa, Querini Stampalia
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Through Scarpa, this dissertation aims to understand the methodology architects must adopt to interpret and respond to an existing building. It is not only about the functions of the original and proposed buildings. The remodelling of historic buildings is based upon an effective analysis of the existing building, then forming a relationship between the old and the new elements, to create balance and harmony. His buildings will be analysed as to whether he kept enough of the original building compared to the addition of new features. Scarpa will be starkly juxtaposed with Norwegian Sverre Fehn and Swiss Peter Zumthor, two architects who also offer a solution to today’s turnover culture, by designing new buildings that bring us back to the essence of life. Sverre Fehn was a visionary who strove “to make a building that will make people more aware of the beauty of the setting� (Sharp, 2009). Peter Zumthor is a tactile and sensory architect who works closely with materials and small details. To allow focus, this dissertation will be limited to historic buildings. The conservation of historic buildings through remodelling should be essential to 21st century architectural practice. The world already has many outstanding and honourable buildings often with great historic significance, so to conserve them rather than demolish and rebuild them makes sense.
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Figure 4: Fehn, Norwegian Pavillion at Venice Biennale
In 1943, the British Prime Minister, Winston Churchill said, “First we shape our buildings, then they shape us” Winston Churchill. (1943) (Hays, 2009)
However, in 1994, American writer Stewart Brand rewrote these words in his book ‘How Buildings Learn’, to bring them into the current day: “First we shape our buildings, then they shape us, then we shape them again-ad infinitum” Stewart Brand. (1994). (Hays, 2009)
The remodelling of buildings has been around for a sustained time, however only now is it becoming a much more common occurance, which gave Stewart Brand the need to revaluate Churchills statement. The reuse of buildings is a large market for architectural design. Top architects are raising its profile, such as Norman Foster’s reuse of the Reichstag building in Berlin. This dissertation aims to raise further awareness of this point so all practicing architects and designers of today as well as of the future can take note. 5
This dissertation is not only about the function of the reused building, but also about understanding the methodology used to interpret and adapt the existing building. It aims to prove effective remodelling is based upon listening to the architecture and carrying out minimal impact alterations to balance the old and new. It will begin by exploring how what minimal impact methodology is and how it can be applied?
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CHAPTER 1: MINIMAL IMPACT DESIGN AND REMODELLING ARCHITECTURE
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Minimal Impact The term ‘minimal impact’ suggests the smallest effect one thing can have on another. When this is applied to remodelling architecture it suggests the new design should only have a small effect on the historic building, hence the existing character can be conserved. Although there may only be a small impact on the physical characteristics of the building, there can still be a large effect on the spiritual characteristics (the feeling) of the building. Small detailed changes, rather than radical alterations, can still make a profound statement to the character of the new building, whilst still maintaining its original characteristics. Modern Lifestyle In the 21st century, architecture has become part of this wasteful consumption lifestyle we lead, in the Western world. The turnover of buildings in urban areas is fast and frequent. However, conserving existing buildings can solve this. “Architecture has the capacity to be inspiring, engraving and life- enhancing. But why is it that architectural schemes which look good on the drawing board or the computer screen can be so disappointing ‘in the flesh’?” Pallasmaa (2005) 8
The Finnish architect and theorist, Pallasmaa is interested with the human experience in architecture, and a leading figure in Phenomenology, a study of just this. He suggests today, many building fail to captivate and inspire us, although this obviously is not true for all buildings. There are two main causes of this problem. The first being, when most architects design, they only consider one of our five senses: sight. This allows a design appear to inspiring on paper, but in reality, when four additional senses are responding, the building seems flat and disappointing. The second cause for buildings being ‘disappointing in the flesh’, is due to increased technology. When drawing, the hand flows; five senses are operating. Whilst computers allow liberation and fantasy, this imaginative and sensory interaction cannot occur, as they create a physical distance between the screen and the architect. Carlo Scarpa was a master of drawing and this will be investigated later. Pallasmaa thought architecture should “address all the senses simultaneously…” (2005, p11), as he believed architecture should make us “… experience ourselves as complete embodied and spiritual ways”
Figure 5: Scarpa drawing
Conservation Frazer Hay, an academic from the Centre for the Recycling and Reuse of Buildings said,
Figure 6: Scarpa’s technical component drawing
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“New intervention practices are seen as a creative way to breathe new life into an existing historical context, whilst reinventing an economic and social value. The new and old architecture - a layered combination - would ensure the continuation of an authentic character, whilst providing an appropriate new use. The new use would eventually add to the building’s historic fabric.” Frazer Hay
http://www.recyclingandreuseofbuildings.com/page9.htm
As identified by Brooker & Stone, in their book Rereadings, (2004, p11) architectural conservation can be divided into distinct categories. Preservation is maintaining a building in its found state; restoration is returning a building to its earliest state using original materials and construction techniques; renovation is renewing and adapting for the 21st century without dramatically changing the building; and remodelling is altering the building’s original function. Remodelling is the most radical form of conservation, and the one this dissertation is focusing on. With remodelling, spatial relationships change, additions are built, parts are demolished and circulation routes are altered. It is also referred to as reuse, rework or adaptation. Interior spaces can always be used in a different way.
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Figure 7: Zumthor, Kolumba Museum. An example of remodelling
A Shouting Culture With the problem of living in a utilitarian, shouting culture, minimal impact methodology can be applied to help us stop and listen to the historic building. Firstly, one must listen to the historic building, to understand the existing beauty, before sensitively adapting the building accordingly. Deciding what alterations need to undertaken require careful judgement and consideration. Silence “A sudden silence in the middle of a conversation suddenly brings us back to essentials: it reveals how dearly we must pay for the invention of speech.� Emil Cioran
http://www.brainyquote.com/quotes/quotes/e/emilemcio400809.html
Cioran suggested speech is not favourable; sometimes silence is more important. Silence can lead to an idea or thought surfacing from the moment. A relationship with a building is like conversing with a person: a pause should be taken to listen and gain additional information before action is taken. Silence gives emphasis. If we listen to the silence the building presents, we will begin to understand what the building is, as well as what we think and feel.
Figure 8: Castelvecchio. Scarpa listened to the building before he responded with his design.
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Listen to the Silence When approaching an old building, time for reflection is needed. Stop and listen. By responding to an existing building thoughtfully, sensitively and humbly, small changes can lead to a huge effect in the new design. A large impact (both physically and metaphorically) is not always needed, but adding and changing small elegant details can obtain the same affect. However, there comes a point when too little, becomes too little, and minimum alterations do not make a powerful enough statement to do the historical building justice. Japanese Culture “I have never seen a better example of an integrated culture than Japan... Beauty, for instance, a cultural factor of great importance more and more lacking in the Western World, is still a basic requirement of life for the Japanese�. Walter Gropius (Schultz, 2007, p53) Carlo Scarpa, too, values the culture of Japan. Much can be learn from Japanese art and culture. Japanese art uses very few movements to create a piece, which is both powerful, yet has qualities such as calmness and serenity. Often, the bold simple pieces make a large statement. This can be seen in Shodu calligraphy (see 12
Figure 9: Japanese Architecture. A Beautiful Pagoda
Figure 10: Japanese Art Shodo Calligaphy
figure 10). Preserving History “Buildings outlast civilisations, they evolve and they are changed, but their reuse emphasises continuity”. Brooker & Stone (2003, p10) Historic buildings hold a value and connection to our past. They contain fragments of history, which need to be preserved through conservation. History is made up of many factors: cultural, social, political, economical and technical. If it was not for buildings holding onto our history, the history could not be learnt. Engraved Memories Buildings can retain a remembrance of their former function engraved as a memory, making them multi layered and dynamic. A building’s original qualities lend themselves to the building’s new function. Often an existing building suggests what it wants to be by its size, shape, atmosphere and other existing non-spoken qualities. Remodelling is normally based on the building’s original form. The building will always contain traces 13
of their former selves, which can be reread and looked at in a new light. With the ideas of minimal impact, and listening to a building’s silence, the question of how is a building to be remodelled, whilst retaining its history and conserving its memories, can be asked? How can using minimal impact methodology be adopted? And whom can we learn from?
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CHAPTER 2: CARLO SCARPA
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Through studying Carlo Scarpa, a pioneer of applying low impact methodology, we can start to understand the strategies one must apply when remodelling historic buildings. Scarpa did not indulge in this shouting culture Scarpa remodelled many historic buildings, taking them from their existing use to create a new one. During his lifetime, Scarpa was just seen as an artist who wanted to build, but today is he is one of the most renowned 20th century architectural figures. He is famous for the remodelling of historic buildings using a sensitive and humanistic approach, and many turn to his work for inspiration on how historic buildings can be utilised with, whilst respecting their beauty and history, but to still give them a new lease of life. He never used mock ornamental details; instead he crafted beautiful original objects and details. Carlo Scarpa was born on the 2nd June 1906 in Venice, to a schoolteacher and his wife. His family moved to Vicenza when he was 2 years old. In 1919, his mother died and he returned to Venice with his father. He studied architectural drawing at the Royal Academy of Fine Arts in Venice, and after receiving his diploma in 1926 he started teaching architectural drawing at the academy. He did not complete his architectural education and therefore was never recognised as an architect. Living in Venice, the “floating city� (Grigor, 1996) meant Scarpa had a close 16
Figure 11: Beautifully crafted detail
relationship with water, and a great awareness of it whenever he was designing. He brought water into his designs, such as in Querini Stampalia and Castelvecchio’s courtyard. Venice is a modern city living with water interventions all the time. However Venice is a conserved city with many difficulties so it is not a stimulating city for a young designer. Whilst at the at Royal Academy of Fine Arts, Scarpa discovered the work of Otto Wagner, one of the leading Viennese architects of the new Secession (Art Nouveau) movement. This led Scarpa to the works of Josef Hoffman and Charles Rennie Mackintosh, also Secession architects, who took great care in considering their materials and craftsmanship in their work. Studying and working at the Royal Academy of Fine Arts, rather than an architectural school meant Scarpa was exposed to a craft atmosphere, which becomes evident in his Figure 12: Venice, the floating city. future work. His modern architectural ideas came from studying this Secession movement; whereas other leading architects such as Ludwig Mies van der Rohe developed their modern ideas from studying Neoclassicism. During the 1920s and 1930s he was met many influential and intellectual figures both in Italy and internationally, including poets, play writers and painters. In the late 1920s he began his career as an interior designer and industrial designer 17
Scarpa revelled in his practical hands on approach he took to design. He had a close relationship with many artisans in the city. His first job was working as a glassmaker for Venini Glass, in Murano, the most famous Venetian glass producers. Here he was able to experiment with colour and texture. He went on to work with carpenters, cabinetmakers and metalworkers. For most architects, the craftsmen’s intervention would be an interference but Scarpa gave them as much respect as they gave him. Their relationship was based on mutual respect Figure 13: Crafting glass at Murano for each other and listening to each other’s ideas. He would praise his workers and give them tips. Scapa’s first significant commission was the renovation of the School of Economics, University of Venice in the Ca Foscari in 1935. Here he used the subtle integration of glass, wood and metal details into the existing medieval architecture. Many renovations and exhibition installations followed but these only gained him local recognition. Only after World War II did Scarpa gain international acknowledgment. Influences from American architect and interior designer Frank Lloyd Wright and Austrian architect Josef Hoffman became evident. Walter Gropius, the Bauhaus architect and saw Scarpa as a rising star and gave praise. The restoration of the The Accademia Museum building situated in an old convent, in Venice, was the first time Scarpa had shown minimalist style within 18
Figure 14: Cabinetmaker, Venice.
a historic setting. The existing content was seamlessly beneath and behind the new design. Scarpa’s astonishing care in the details: the handrails, the floor patterns and the benches set him apart from other architects and designers of his time. After the war, whilst continuing to teach at the University of Venice, Scarpa began receive more commissions, which would make him recognised globally. His most successful works include Correr Museum, Venice (1952-60); Canova Figure 15: Accademia Museum. Plaster Cast Gallery in Possagno, Treviso (1955-1957); Castelvecchio Museum, Additional steps added by Scarpa. Verona (1956-1964); Olivetti showroom in Piazza San Marco, Venice (19571958); Querini Stampalia Foundation, Venice (1961-1963) and the the Brion Tomb in San Vito d’Altivole, Treviso (1969). During the 1970s, Scarpa was not influenced by Postmodernism or Neorationalist. He had a constant connection with local artisans, who continued to inspire him and shape him. Carlo Scarpa rarely designed whole buildings, but the Brion Tomb, Treviso, was an exception of this. When Scarpa died accidently in Japan, in 1978 aged 72, he was buried at this cemetry. He was at the height of his fame and an influence to many architects and students globally. His unique style led to many architects reviving an attention to materials and craftsmanship in a contemporay context.
Figure 16: Correr Museum. Exhibition Design.
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Drawing: An Architectural Language “I draw because I want to see”.
Carlo Scarpa (Los, 2009, p9)
Scarpa used drawings as a way of pictorial thinking, to discover and experience his ideas: seeing was knowing, doing was learning. This prevented him from becoming too functional and mathematical. For him, drawings were not just a utilitarian depiction but also a form of creative thinking to explain something. According to Los (1993, p23), a student and apprentice of Scarpa’s, Scarpa would develop his thoughts whilst simultaneously drawing. His ideas would evolve as his hand moved. Scarpa would have an idea for a new project in one afternoon, but he would constantly be refining the design for months, right up until construction began. Francesco Zanon, from the metalworks, said he would hold a pen in either hand and both hands would draw different ideas within the same project (Grigor, 1996). This ability meant he could remodel a building as a whole, whilst at the same time concentrate on the details. Scarpa had a deep understanding in everything he designed. In regard to Scarpa’s drawing, builder Lugi Bratti recalls, Figures 17, 18, 19: Scarpa’s Drawing 20
of Cangrande della Scala Statue, from different perspectives
“Initially I didn’t understand. Then he would start colouring it distinguishing the various positions. When he finally finished the drawing he would do a perspective for me, rapidly. And with the perspective everything would become clear”. Lugi Bratti (Grigor, 1996) This method of sketches upon sketches helped Scarpa research his ideas and refine his designs to perfection. However, technology in the 21st century is preventing this architectural language to be used. Architects rely on computers to draw their plans, section, elevations and perspective, which in turn is reducing their understanding of the building. Juxtapositions of Elements In Scarpa’s work, ornamentation was created, through the expression of the join of elements. He thought about how the floor met the wall, the steps met the floor, the wall met the ceiling, and the beams met the ceiling. Scarpa used juxtapositions of different elements. Often this involved juxtaposing the old agains the new, and basic materials against prcious ones. His architectural language was not aboutbreaking down and decomposing of a space, but about creating joins to recreate the space as a 21
whole. Louis Kahn’s Architecture of Remembrance wrote about details and joints. Kahn suggested, “The joint is the beginning of ornament” (Los , 2009). Scarpa met Kahn in 1967. Scarpa did not see the whole broken down into separate reconstituted parts (eg, the floor, the wall, the ceiling) in an abstract way, but instead he saw these as component parts of a space. According to Los (2009, p14), this was a way he could introduce joins that would allow the architecture to speak, without using ornamentation (something the modern movement has turned its back to). Scarpa thought if ornamentation were lost in a building, the architecture would be dead. So instead he created energy by adding angles, edges, mouldings and cornices, forcing the building’s components to attract and repel each other, and build relationships with each other. Craftsmanship “Verum, ipsum, factum”
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Gioranni Vico. (Costelloe. 2008)
Gioranni Vico’s maxim, suggests manual construction work leads to purity and truth, something that Scarpa aspired to. Vico claimed history and culture are manmade. From the beginning of his academic life Scarpa preferred to learn from the Venetian glass makers rather from the academics. His love for manual construction work throughout his career reflects in his work. He always preferred the learning through doing approach. Scarpa had a very close relationship with local carpenters, cabinetmakers, glassmakers, metalworkers and stonemasons, devoting much of his time working and discussing ideas with them. He spent a lot of time at Fondamenta della Sensa, Venice, where Anfodillo & Sons cabinetmakers and Zanon metal works were based. Saverio Anfodillo, a cabinetmaker who worked closely with Scarpa said “our collaboration was extremely fruitful because there was nobody to give orders and nobody receiving orders” (Noever, ed. 2003, p98). Spending this amount of time with the craftsman, allowed for an exchange of knowledge, which helped Scarpa develop his ideas. They taught him about different raw materials, how to combine texture and colour, how to create clever details, and how to join the elements all together. Anfodillo (Noever, ed. 2003, p98) continues “Again and again Professor Scarpa 23
insisted on trying other materials, was not satisfied, looked for a different type of wood with specific qualities, with a certain colour- and we tried to come up with his expectations”. Out of respect to Scarpa, his workers were happy to try harder for him. He was always looking for new materials with new superior qualities. However his workers often had to do something “…Twice or even thrice until the piece was as perfect as he wanted it…there was certainly no money in his commissions”, (Anfodillo, Noever, ed. 2003, p98). From this, Scarpa successfully revived a lost artisan culture. By involving local craftsman in architecture once again, Scarpa was able to learn old, almost forgotten techniques. He used these to show us an existing building could be reconstructed to bridge the link between old and new. Sadly, despite attempts to revival, Venice is once again losing it artisan culture. New technology has forced local companies to close as the new equipment is too expensive and so manual work is becoming unaffordable. This is down to the cost of labour and strict legal requirements. Traditional handmade methods are becoming extinct and taken over by technological mass production. Inspiration Scarpa had many influences over his life, from Japanese art and architecture to Frank Lloyd Wright, European Modernism to Josef Hoffmann. 24
Scarpa was inspired by everything, from art history through to exhibitions at the Venice Bienalle each year. According to Grigor’s documentary (1996), Scarpa went to a Rothko exhibition and was taken by the vividness and transparency of the colours. He would look at an abstract painting and be inspired by a floor pattern, “where the glass marble tile floor would reflect the colour of the ceiling” (Grigor 1996). Scarpa most famously used colour in Banca Popalarie, Verona, by applying a Stucco plastering technique. Everywhere Scarpa went he was constantly observing, seeking inspiration for new designs. According to Arrigo Rudi (Grigor, 1996), whilst in a boat, Scarpa was inspired by 2 columns on an old building and said “This gave me the idea for the columns in the Banca Popolare in Verona”.
Figure 20: Rothko. No 61 (Rust and Blue.)
Refinement of Human Interaction Carlo Scarpa was a thinker and a sketcher of ideas. The more he sketched, the more refined his designs became. This refinement of the interaction with the building, details and materials is interior design/architecture. Scarpa was a product designer. He exploited the materials’ qualities, as did Zumthor. Product design is the human interaction with an object (for example, how a door handle is to touch), architecture is not this. Architecture is about making a striking statement with a large impact. Scarpa was not about making 25
large impacts on existing buildings, but about how the door handle was to touch. This makes Scarpa more of a product designer and interior designer than an architect. Alvar Aalto summerised this when he said, “A piece of furniture that forms a part of a person’s daily habitat should not cause excessive glare from light reflection: ditto, it should not be disadvantageous in terms of sound, sound absorption, etc. A piece that comes into the most intimate contact with man, as a chair does, shouldn’t be constructed of materials that are excessively good conductors of heat”. Alvar Aalto, (Pallasmaa, 2005, p 70) Aalto was more interested with the encounter of the object and the body of the user than the aesthetics. In his book, The Eyes of the Skin (2005), Pallasmaa suggests Aalto uses textures and details, shaped for the hand, to create an intimacy and warmth between the user and the building. Considering Scarpa was not a qualified architect, this makes sense. He was often referred to as ‘an artist who wanted to build’. He learnt his trade directly from local artisans, instead of from a technical architectural school. Due to this unique relationship he had with these artisans, Scarpa has a different type of knowledge to most architects. All this led to his refined intervention in historic buildings. 26
Figure 21: Crafted bridge rail.
When Scarpa worked on a project, he worked on the project as a complete scheme, whilst focussing on the small details. This parallel approach lends itself to the complete sense of balance one feels when standing in a Scarpa building, It’s these small details with teh ergonomic touches, which make the buildings a delight to be in. He selects key existing elements, and brings them to the forefront of his designs. When remodelling historic buildings, there is a fixed set of constraints the architect must adhere to. It is these constraints, which lead to the refinement process, as the architect must listen to the building, before responding with a remodelling design. This then leads to the details within the building, which give for better human interaction. Scarpa demonstated this when he seamingly kept the original window, within a newly plastered wall, at the Accademia Gallery in Venice (see figure). Adaptation must be based on the form of the original building. With Castelvecchio, Scarpa saw the original building like an archaeology site. It was then suitably remodelled to a museum to hold historic artefacts. In this case, the buildings new use derives directly from the building’s original form.
Figure 22: Accademia Gallery. An original window within a new corridor
Memories Carlo Scarpa built memories. As Schulz (2007) suggestes, architecture is a 27
form of fixing memories. When a person walks into a building, their memory is activated. Scarpa takes historical objects and transforms them to a new form. His buildings are a narrative through history: they tell a story through time. He achieved this, by exposing the layers of the building so the original building is stripped back to its key elements.
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CHAPTER 3: CARLO SCARPA’S APPLICATION OF LOW IMPACT DESIGN METHODOLOGIES
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Carlo Scarpa used low impact methodology when renovating historic building. His methodology of reusing the buildings will be explored in this chapter by studying to key remodelling case studies: Castelvecchio and Querini Stampalia Foundation. Each case study has been analysed as to whether Scarpa has kept enough of the original building and added sufficient new features, to keep the balance between old and new. Castelvecchio Museum, Verona Castelvecchio Museum in Verona was Scarpa’s most famous renovation. In 1956 he was commissioned to restore the living quarters of the 15th century Italian castle to a museum, to house an art collection of sculpture, statues, paintings, ancient weapons, ceramics, goldworks, miniatures and bells. He wanted to reveal the layers of the building, the historical strata of the structure. He wanted to unravel the castles history by separating the different periods of the building, but unite them together as whole. He did this based on juxtapositions of the different fragments and materials from different eras. He placed different materials from different eras side by side to make a contrast. By doing this, the building became a museum in itself. This was a small action but made a large statement and really illustrates the varied history of the building.
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Figure 23: The restored drawbridge.
Unravelling the History Castelvecchio has gone through 4 construction phases. The original walls are roman and the ancient city wall running through bisects the castle. Between 1354 and 1356 the walls were extended along the side of the castle and the bridge was built. In 1923, architect Forlati and museum curator, Arena restored the castle and transformed it into a palace museum for the public. Forlati created a mask for the building to change it into a museum, by plastering the barrack front with various Gothic relics, and added fake beams to define the different spaces. Scarpa appreciated the division of space but not the fake ornamentation.
Figure 24: Castelvecchio and the city wall
Scarpa wanted to explain this dynamic history of the three previous construction processes the building underwent, through his architecture. Scarpa gave the building breaks: the new floor stop short of the existing walls, and walls stopped short of the ceilings. This emphasised the parasitical nature of the new architecture, so the new architecture could be appreciated within the original. Scarpa intervened with vertical elements to break up the strict symmetry. Strips of façade were removed to expose the different historical layers of the building. In the breaks in the building where the combination of the different elements can be seen, the building’s elements are unified over time. Finally the history of the building could be seen from the modern 1950s architecture back to the original Roman walls. Scarpa emphasised where the historical interconnections 32
Figure 25: The parasitical inserted floor, stopping just short of the wall.
Figure 26: The critical juxtaposition of the historical interconnections, marked by the statue.
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were clearest, by placing the statue of Cangrande della Scala above, on a concrete plinth (see figure previous). As one walks around the building different parts of the city and castle are revealed, whilst other parts are blocked off from view. There are glimpses of the bridge, moat, river, walls, statues and lawns through small windows and cutouts. Then diagonally cut steps lead to the battlements where a view over the city of Verona and the rest of the castle is shown. The Courtyard Scarpa transformed the central courtyard, both a prologue to the museum and a stopping point on the journey around the castle. He balances the traditional Veronese materials such as Pun stone with contemporary ones such as concrete. The courtyard gardens evoke both Venice and oriental gardens. Sited around the courtyard garden are two 19th century fountains, a 13th century sarcophagus, a rose from a medieval church’s floor and medieval sundial (site visit, 2009).
Figure 27: The bridge and river are revealed through a n arrowslit.
The Entrance Scarpa’s most radical change was moving the museum’s entrance from the centre to the side, to help avoid symmetry. Adjacent to the entrance there is a small shrine protruding from the façade, known as the ‘Little Chapel’. The entrance, 34
Figure 28: A beautiful water fountain, found in the courtyard.
defined by exterior paving, leads to the internal exhibition gallery hall filled with stonework. The Gallery Hall The main interior walls are plastered with a rough texture finish, the walls in the arched passageways are cladded with rough slabs of pink Pran stone and the floor is tough hewn concrete. The floor is crisp and sharp, with 90째 corners, whilst the interior walls are kept rough and organic, which provides a strong contrast on connection. At the end of the long exhibition rooms is a large arched doorway covered by a steel grate. Just before the door is a rectangular glass cut out on the floor, revealing the buildings ruins beneath. This puts the visitor in touch with the buildings historical context, before leaving to go outside.
Figure 29: The entrance
Cangrande della Scala Statue Through the doorway is the courtyard where the Cangrande della Scala statue stands tall above. The Cangrande della Scala of a horse and guard, the symbol of Verona looking over the castle. Steps lead to the western courtyard, which leads to the living area containing Veronese and Venetian paintings, and middle age sculptures. Figure 30: The Cangrande della Scala statue
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Figure 32 (opposite): The Gallery Hall looking towards arched door with steel grate.
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Figure 31: Looking down the Galley Hall
The Little Chapel Scarpa wanted to design a place for every single object so their context was built around them, rather than vice verse. The ‘Little Chapel’ is a cube inserted into the building, cladded with cubes of small Prun stone slabs, made up of further cubes of varying colours and texture, all inspired by a painting by Albus. Inside the walls are painted with bottle green lime wash and the floor is brick with metal frames. It was designed by Scarpa to be shrine and tomb like, as it holds objects found in tombs. The Exhibition Rooms Every exhibit: statue, sculpture, painting has a unique way of being displayed, designed especially. Scarpa designed small rooms especially so the light entered at the correct angle. He built the doorways so the visitor would catch glimpses of a standing picture as they walked around the building. There was always that element of surprise of what was peaking out from behind the wall or what was around the corner. Statues and sculptures are attached to pedestals; the pedestals are connected to steel, the steel is bounded to the floor, the floor is inserted into the room and the room is inserted into the gallery. The ancient stone crucifixion sculpture is contrastingly mounted on 20th century polished steel, to emphasise its age. 38
Figure 33: The specially designed pedestals
An easel style (see figure) stand holds pictures, unique because they allowed visitors to fully interact with the painting by walking right up to it at eye level and walking around it- a democratic concept. The paintings stand perpendicular to the room’s walls. Scarpa was responsible for making viewing art much more personal and accessible. From Castelvecchio it can be understood there are often many layers and details to a building that are not to clear to us in the building’s present day form. Scarpa exposed these layers so the public could appreciate the history of the place instantly. Castelvecchio needs to be looked at and listened to, to take it all in. Many buildings require this, as there is always more to a building than first meets the eye.
Figures 34 (overleaf ): Diagonally cut concrete steps. Figure 35 (overleaf ): Floating steel stairs
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Querini Stampalia Foundation, Venice In the 1961, Giusepps Mazzariol the director of the Querini Stampalia Foundation and Scarpa’s friend and colleague, commissioned Scarpa to remodel the ground floor and courtyard to, restore this 16th century Venetian palace. The building housed exhibition rooms and a library, but the ground floor rooms were prone to flooding and the library had been badly remodelled in the 19th century and needed reversing. Controlling the Water Instead of blocking all water out of the building, which Scarpa thought would fail, he chose the creative solution to let the water come into the building as a feature, and to build a ‘catwalk’ above for visitors. The stone cladded catwalk was raised up, so either side the water could penetrate in from the building, around the rooms along the wall.
Figure 36: Low tide at Querini Stampalia
The Bridge & Entrance The most radical change Scarpa carried out here was building a bridge, across the canal, from the Campiello by the Santa Maria Formosa to a new entrance. He was inspired by Japan (think of Hokosai’s paintings with bridges) and existing traditional Venetian bridges. The bridge is made of steel and sits upon Istrian Figure 37: The new additional bridge 41
stone at either end. The flat steel railings support the teak straight handrail. The three point straight handrail emphasises the arch of the bridge. The steps and tread is made from larch heartwood. Two identical iron-railing gates close off the two arches of the porch, whilst still allowing water in. Through the glass porch is a marble floor entrance hall, with a Paul Klee motifs mosaic. Scarpa used this same pattern in Castelvecchio. The wall cladding, of white plastered masonry sits with a slight gap from the wall to protect it from damp. The ceiling is plastered in Venetian orange-red stucco plaster. A sculptured cladding of Istrian stone has cleverly concealed the new heating units.
Figure 38: The entrance hall, with marble floor
The Exhibition Hall In the large exhibition hall, stone bands break up the concrete floor. The floor is a modern interpretation of the stone and gravel traditionally used in Venetian palazzo courtyards. With it’s boat like structure, the new interior seems to ‘float’ on the water of the canal. The walls are clad with Travertine marble and etched glass panels protecting fluorescent lighting tubes, with a brass strip running at eye level the perimeter of the room. Vernacular Venetian palaces were also lined with marble, so Scarpa was bring the historical luxury of the city back into the Figure 39: The entrance hall, with ‘cat Querini Stampalia. walk’. 42
Inspired by concrete shutters he saw at Torcello Catherdaral (Grigor, 1996), Scarpa specially designed a door, leading to a small conference room. The door, clad with stone and flush to the walls is an unusual shape, containing a rectangular void at the top. This cut out shape serves as a door handle without having a protruding door handle. The Garden The room opens onto a small rear garden which Scarpa also undertook designing and landscaping. It has strong Japanese influences. His passion for materials is dominant: marble is placed next to concrete, gold Murano glass is placed next to steel. Putting basic materials alongside precious ones is another example of how juxtapositions were used by him, to make a statement. The garden of Querini Stampalia is a metaphor of Venice (Schulz 2007). The Figure 40: The specially designed analogy of the city is reflected in Scarpa’s strict control of the water flowing door, inspired by cathedral shutters. around the garden, in the same way Venice does with its canals. The garden has become a microcosmic environment of Venice. Altogether, the atmosphere of the garden is harmonious and serene. There is a definite sense of contentment and calmness wherever one walks or looks. The flowing of the water down small canals, overflowing features and pools of water Figures 41, 42 (overleaf ): Details in add to the idea of water being a vital essence of life. The garden emphasises the garden which promote serenity. 43
renewal and decay; the trees and plants go through the seasons, as the water flows continuously. A shallow pool of violet marble collects water dripping from a pipe and this leads the water round a maze of pools and channels it to a deep channel running the length of the garden around sculptures, paths and lawn areas. At the opposite end of the pool the water flows over a waterfall. The Venetian Murano glass, gold, tiles have been placed around the high concrete wall surrounding the Figure 43: Concrete wall with conshallow pool, which reflect the water’s shimmer on a sunny day. Attention to trasting gold Murano glass tiles details such as these define Scarpa. Scarpa also redesigned the lift, door and restored the stairs leading to the library on the first floor. The old and new of the steps simultaneous exist together. Other Remodelling Works Carlo Scarpa’s other main remodelling work was the 16th century Palazzo Abatellis, Palermo, in Sicily. After previous restoration work due to bombing during World War II, Scarpa remodelled the building in 1953, to an exhibition space for a museum of art. Scarpa smooth rendered the walls around the original windows, to give the building a new white skin. (Grigor, 1996). He set out a tour around the museum to force visitors to pause in front of the exhibits, and allowed them to view the work from different perspectives. 46
The Convent Chapel of Dominicans, a 16th century chapel, was another of Scarpa’s remodelling projects. He pieced together sculptures and fragments and presented them in the museum, to make a whole for the viewer to see. He presented a doorway, half in its found ruined state and half restored to its original perfection. This contrast, of old and new, led to a balance in which both extremes can be appreciated.
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CHAPTER 4: FURTHER APPLICATION OF LOW IMPACT DESIGN METHODOLOGIES: SVEREE FEHN & PETER ZUMTHOR
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Scarpa is the pioneer of using low impact methods in architecture, but by no means did was the sole user of this methodology. Many architects from Scarpa’s past, present and future have used this methodology. It could be argued they have adopted his methodology from Scarpa himself or it may be that they have discovered it themselves. This chapter will focus on Swiss architect Peter Zumthor and Norwegian architect Sverre Fehn, with a comparison of how they applied this low impact methodology in relation to Scarpa. Scarpa listened to the context of the building, as did Fehn and Zumthor. In Scarpa’s case it was often in the context of historical buildings (although he also designed new buildings), whilst in Fehn and Zumthor’s case, the context was the local landscape. Fehn revived a Nordic style of architecture, reconnecting buildings with nature. Zumthor Sverre Fehn Sverre Fehn, a Norwegian leading post war modernist architect (Sharp 2009), was born in Kongsberg, Norway on the 14th August 1924. He practiced what is often described as a form of ‘poetic modernism’. His work is famous for recognising local and national cultures, whilst maintaining the use of traditional materials and construction methods. His buildings harmonise with the Nordic landscapes as not to harm nature. As Scarpa listened to the historic building, Fehn too, listened to the silence of the landscape, and responded accordingly. 49
Figure 44: Norwegian Pavilion, Venice Bienalle. The architecture seems to grow around the tress
He designed sensitive, reserved and serene buildings. Whilst Sverre Fehn was practicing, modern architecture in Norway seemed non-existent, however Fehn was a strong fighting modernist, who fused modernism with Nordic tradition. In his book, Modern Norwegian Architecture (1986), Norberg-Schulz searches for a modern Norwegian Architecture and applies it to Fehn. He suggested two Norwegian architects, both leading figures in this new international Nordic style, helped Fehn recognise certain ideas. Knut Knutsen was a pioneer of using local values, whilst Arne Korsmo reminded us that, “the architect must never cease to be a poet…one who creates the symbols necessary to give life meaning” (1986, p152). Through teachings from Korsmo, a teacher and later friend to Fehn, Fehn he identified with the idea of the architect as the poet and applied this to his work. After graduating from the Oslo School of Architecture in 1948, Fehn taught as a professor between 1971- 1991, alongside the architect theoretician Christian Norberg-Schulz and arcitect and author Thomas Thiis Erenson. Norberg Schulz was a key figure in architectural Phenomenolgy, an area of academic research about the human experience of a building’s materials and their sensory properties. (quote from one of the books and expand). Architect Peter Zumthor who will be discussed later will be. 51
After graduating, Fehn travelled to Morocco. This contrasting country made him appreciate the Nordic landscape of the trees, grass, rain and snow. Upon returning, he had increased pride for his country and aspired to do it justice by reflecting this in his work. Following that, he spent a year in Paris, working for Jean ProuvÊ, the French metal worker and designer, and met Le Corbusier, the leading Swiss French architect of modernism. Back in Norway, with the much needed technical information he had gained, he set up his own practice. Fehn was a founding member of PAGON (Progressive Architects’ Group Oslo Norway), established in 1951 to promote the idea of a national Nordic Architecture: modern architecture with local character. The group was formed from wanting different fields of art to collaborate together, so they formed close contacts with young artists. They became an influential group who raised awareness to Norwegian architecture, within the context of the modern movement. During the 1950s the group took part in many competitions. Within the group Fehn stood out as being the most talented and won the competition, with the collaboration of Geir Grung, for a new museum building in Lillehammer. This was his first commission. Fehn demonstrated a new architectural language, characterised by form, materials and techniques. Fehn designs were modern yet maintained traditional Norwegian values and materials, with a strong relationship between interior and exterior. Although never built a simplified 52
Figure 45: Spiral staircase at Hedmark Museum.
version on an alternative site was built in 1958, and Fehn and Grung went on to design many other successful buildings, in collaboration. In 1958 Fehn gained wider recognition, when he won the competition for the Norwegian Pavilion at the World’s Fair in Brussels. Norberg- Schulz (1986, p105) said his entry “succeeded convincingly in uniting the ‘timeless’ structural clarity of the Mies van der Rohe type with a Norwegian use of materials, and a happy interplay with between the building and the exhibits”. It was in context with the modern movement, whilst maintaining a Norwegian national identity. The Schreiner House, Oslo, 1962 was built with a light wooden construction, reflecting the nature of the surrounding forest. The house floats amongst the trees gracefully. Inside there is a central core, with open space around allowing freedom to move between the different spatial areas. The Bodtker House, Holmenkollen (1966) was built on very steep terrain and so the design had to adapt to the topographical situation.
Figure 46: Schreiner House
Fehn saw building as an insult to nature if built insensitively. He famously said, “When building on site in nature that is totally unspoilt, it is an attack by our culture on nature. In this confrontation, I strive to make a building that will make people more aware of the beauty
Figure 47: Bodtker House
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of the setting, and when looking at the building in the setting, a hope for a new consciousness to see the beauty there, as well.” Sverre Fehn. (Sharp, 2009) One of his highlights of his career was, designing the Hedmark Museum in Hamer, Norway (1967-1979). The project consisted of two parts. Firstly, he remodelled a medieval barn to a museum for the public, not dissimilar to Scarpa’s work. Secondly, he built a large structure to protect medieval ruins and artefact. Sharp (2009) describes, “The new structures establish new volumes within the old ones which give the objects new life. The design expresses some of the free movement between heaven and earth”.
Figure 48 : The remodelled barn
Fehn received his highest honour of the Pritzer Prize, in 1997, a defining moment which led to international recognition outside of Norway for the first time. The Pritzer Prize is awarded annually to an architect who “…Has produced consistent and significant contributions to humanity and the built environment through the art of architecture” (Pritzker, 1978). During his 84 years, Fehn had 12 buildings built, as the rest were unrealised. He died in February 2009 in Oslo. Fehn led Norwegian Architecture so it was competing with the best, internationally. He sought to find new origins of architecture, whilst listening to the traditions of Norway. Like Scarpa, and other low methodology architects he successfully shifted the attitude of shouting, 54
Figure 49: The protective structure over the ruins
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Figure 50: The interior of the Hedmark Museum
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attention-seeking buildings being superior, by building composed, serene, yet powerful buildings, at one with nature and humanity. Norberg- Schulz (1986, p105) went on to say “Fehn searches for the reality beneath the surface; he looks for the very being, that which makes things what they are�. Peter Zumthor Peter Zumthor is a Swiss architect, born 26th April 1943, in Basel. After studying in Switzerland, he went onto study in New York, before starting as an apprentice to a carpenter. He set up his own practice in 1979, back in Switzerland. Zumthor intentionally kept his practice small so he could still be closely involved with all the projects. From his first commission, of Saint Benedict Chapel, in Sumvitg, Zumthor established respect for the site and materials he was working with. The timber chapel was built into an almost vertical slope, so the design had to physically be built into the landscape. The exterior timber keeps with local vernacular architecture, whilst a modern atmosphere is created with the huge interior space formed. He uses natural light to his best advantages, allowing it to pour in, in appropriate places. 56
In 1986- 96, Zumthor designed his most recognised work: The Therme Vals, in Vals, Switzerland. He designed a series of spatial experiences. Encyclopaedia Britannia, describes the structure as: “Appearing like an enormous geometric rock carved within the hillside, is made from local quartz and concrete. The building’s entry is a dark tunnel, which frames a dramatic interior view of the site’s series of cubic spaces...”. Natural light, shining in from windows carved from granite, “…interacts with the site’s pools of water to create shimmering, refracting effects”. From the windows, one can see out to the surrounding mountains. This building gained him recognition, due to the fact it is unique, as it is so dramatic (both as a sole piece of architecture, and how it is built into the landscape), yet it still retains modesty and intimacy. Zumthor is a tactile and sensory architect. He designs buildings which communicate to us. He believes an individual’s involvement with the physical materials of a building can connect them to the world. Whilst reminiscing about his aunt’s house during his childhood, in his book Thinking Architecture, he says,
Figure 51: The indoor spa at Therme Vals with its special light qualities
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Figure 52: People enjoying the spas in the with the back drop of mountains.
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“Sometimes I can almost feel a particular door handle in my hand, a piece of metalshaped like the back of a spoon...That door handle still seems like a special sign of entry into a world of different mood and smells” Peter Zumthor (2006, p7). Here, he is suggesting architecture can bring back vivid memories and special thoughts. He goes onto expalin the smells, the sight and the sounds of his aunts house. When designing, he tries to revive memories lost in the past, by creating certain atmospheres. If Zumthor can successfully do this, then historic buildings, too, should be able to revive the past, and consrerve it for the future. One example of his success is, Kolumba Art Museum, in Cologne, remodelled from gothic church ruins. Zumthor collected the existing fragements together and reunited them in a whole building. He cleverly took the plans of the ruins, and built up from them, so the modern architecture seems to develops from the old ruins. The main room holds the archeological excavation. Its walls allow air and light to filter elegantly through. The building also consists of a chapel and an exhibition floor, consisting of 16 rooms. Peter Zumthor’s remodelling of historic buildings, has led him to a further understanding of a building’s construction methods and different material’s
Figure 53: Kolumba Art Museum. The archeological excavation.
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qulaities. Zumthor doesnt have a certain style or use of materials, but instead he reacts to what the site and people require (Encyclopaedia Brittanica). With his work, the distinction of past and present melt away, and balance out.
Figure 54: Light shining through the elegant ‘filter wall’.
Figure 55: The old ruins against a new facade
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CONCLUSION
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Living in the 21st century Western world of consumerism, utilitarianism and mass production, we need to stop and listen; to the world we live in; to architecture. Silence. This dissertation has proved this culture we live in, can be replaced by one based on community, personal identity and spiritual values. Happiness and fulfilment can be gained not from materialistic mass produced goods, but by connecting to the essence of life. Architecture is a good place to begin this reconnection. As Scarpa demonstrated, beauty can be gained through function. Scarpa’s showed beauty in his architecture through joining elements together in an ornate yet functional way. This dissertation illustrates bold attention seeking buildings are not necessarily the greatest and beautiful pieces of architecture. As shown by Scarpa, Fehn and Zumthor, modest elegant buildings can be just as strikingly impressive. These three architects have shown minimal impact alterations can lead to a profound statement. Castelvecchio is an outstanding example of remodelling, and an extremely credible piece of architecture. From researching Carlo Scarpa’s design strategies, he has taught us how to effectively apply this minimal impact methodology. Juxtaposed with Sverre Fehn and Peter Zumthor, there are many similarities with their’s and Scarpa’s work. Fehn was known for using traditional materials and construction methods, as 62
was Scarpa, owing to his artisan culture influences. All three studied architects identify with their culture: people and their values, by listening to the context they were building in. Whilst Scarpa listened to his historic buildings, Fehn and Zumthor listened to their landscapes. Minimal impact methodology is an extreme strategy to adapt. Not everyone believes in it. But having a greater understand of this low impact methodology and how to apply it enables us to interpret and respond to historical buildings, from a new perspective. Every historical building has a potential, if considered and remodelled sensitively. We can live in the 21st century in modern environments, within old buildings, alongside our past. The conservation of historic buildings through preservation, restoration, renovation and remodelling should be essential to 21st century architectural practice. The world already has so many honourable, outstanding, remarkable buildings often with great historic significance. Many are faced with demolition, but to conserve them is a much more viable option. Remodelling existing architecture is becoming an increasingly large sector of design. This increase is due to leading architectural firms carrying out remodelling work, increasing the media attention; and over time, once familiar buildings are becoming historical, opening up opportunities for remodelling. From these old buildings we can learn about our past, and preserve them for 63
the future. These large remodelling projects can be seen all around the world, although some more successful than others. Swiss Herzog & De Meuron, to save it from impending demolition, remodelled the Tate Modern, London, in 1995. Once a power station and now an art gallery, the interference to the existing structure was kept to a minimum. They carefully balanced the industrial side of the building with the new museological side, by maintaining the height and breath of the huge Turbine Hall and the tower, whilst adding gallery spaces along the north side of the building. The Reichstag, Berlin, was modestly remodelled by Norman Foster in 1992, as a focus for the capital of a reunited Germany, when the German government moved back to Berlin. An oculus sits in the centre of the building, below an iconic dome, which incorporates a sloping ramp up to a viewing gallery.
Figure 56: Herzog & DeMeuron. Turbine Hall, Tate Modern.
The re-roofing of the Great Court at the British Museum, in 2001, by Norman Foster, gave the museum new space and improved circulation, although did not allow more exhibition space. Remodelling is beneficial economically, environmentally and socially. Although more labour intensive, remodelling is a much more viable way to create new buildings as the cost is greatly reduced. Environmentally, it is energy saving, and socially, through interactions it allows us to maintain our past heritage. Often, 64
Figure 57: Norman Foster. The Reichstag dome.
remodelling a building, leads to the regeneration of the surrounding area. This is the case with many of these mentioned projects. Holding on to these historic buildings and bringing them into the 21st century allows us to hold onto the cultural value they contain. Practicing architects and designers of today as well as future ones should take note. Educating designer and architects of the future will ensure our buildings can be preserved for generations to come.
Figure 58: Norman Foster. The Great Court, British Museum
From understanding the methodology of great architects, past and present we can learn to retain history for generations to come, by allowing the past and present, old and new to melt away. Holding onto our history is vital for our society. With this, comes the opportunity to change the attitude of 21st century citizens living in the Western society. In the chaos of everyday life, many Westerners are faced with everyday moments often being overlooked. It is not the big important moments in life which should bring us happiness and contentment. Instead we should look to the finer things in everyday life. In terms of architecture, architects should consider the human interactions one has with a building, much like a product designer or an interior designer does. Although a building may have a strikingly bold appearance, if it doesn’t function 65
and meet human needs it will not be praised. The touch of a light switch when pressed, the spring of a kitchen drawer when closed, the echo of a floor when walked upon, the colour of the walls in an interior space… Lasting memories must be captured, inspiration must be captivated and moments that make you tick must be created. All these will enrich our everyday life spent in these environments. Harries (1997) suggested architecture could help us find a place in our disorientating world. At the speed many of us are living at today, we need reminding to stop. Listen. The phenomenal turnover rate of products, ideas and buildings is taking over. Mass production is overshadowing individuality, in objects, ideas and buildings. “Everything is mass produced these days, which was something Professor Scarpa did not care for. His things were unique” Anfodillo (Noever, ed. 2003, p100).
Figure 59 (opposite): Carlo Scarpa. Coloured Murano glass tiles on a concrete wall.
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BIBLIOGRAPHY
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Books Brooker, Graeme & Stone, Sally. (2004). Rereadings: (Interior Architecture and the Design principles of remodelling existing buildings). London: RIBA Enterprise Ltd. Dal Co, Francesco & Mazzariol, Giuseppe. (eds). (1986). Carlo Scarpa: The complete Works. London: Architectural Press. Harries, Karsten. (1997). The Ethical Fuction of Architecture. Cambridge, Massachusettes: Massachusettes Institute of Technology. Los, Sergio. (2009). Carlo Scarpa. Koln: Tashen Mostaedi, Arain. (2004). Building Conservation & Renovation. Barcelona: Broto & MaMinguet. Norberg- Schultz, Cristian & Postiglione, Gennaro. (1997). Sverre Fehn: Works, Projects, Writings. New York: Monacelli Press Norberg- Schultz, Cristian. (1986). Modern Norwegian Architecture. Oslo: Norwegian University Press. 69
Noever, Peter. (ed). (2003).Carlo Scarpa The Craft of Architecture. Ostfildern/ Ruit: Cantz. Pallasmaa, Juhani. (2005). The Eyes of the Skin. Chichester: John Wiley & Sons Ltd Schultz, Anne- Cartin. (1997). Carlo Scarpa Layers. Stuttgart/London,: Axel Menges. Smith, Peter. (1987). Architecture amd the Prioncipal of Harmony. London: RIBA Publications Scott, Fred. (2008). On Altering Architecture. Oxford: Routledge. Zumthor, Peter. (2006). Thinking Architecture. Basel: Birkh채user. Zumthor, Peter. (2006). Atmospheres. Basel: Birkh채user. Journals Manzelle, Maura. (2003). Carlo Scarpa at the Querini Stampalia. Venice: Ricordi. 70
TV Programmes Grigor, Murray. (1996). Scarpa. (TV). UK: Channel 4 Newspapers Sharp, Dennis. (19th May 2009). Sverre Fehn: Architect whose work drew on local culture. Independent. Available at: http://www.independent.co.uk/news/obituaries/sverre-fehn-architect-whosework-drew-on-local-cultures-1687237.html (Accessed Jan 2010) Websites Anon. Peter Zumthor Biography. (online). Encyclopaedia Britannica. http:// www.biography.com/articles/Peter-Zumthor-37446 (Accessed Dec 2009). Anon. Carlo Scarpa. (online). http://www.architect.architecture.sk/carloscarpa-architect/carlo-scarpa-architect.php (Accessed Sept 2009). Costelloe, Timothy. (2008). Giambattista Vico. (online). Stanford University: Stanford Encyclopedia of Philsophy. http://plato.stanford.edu/entries/vico/ (Accessed Sept 2009) 71
Hay, Frazer. Reuse & Conservation. (online). Edinburgh Napier University: Centre for the Recycling and Reuse of Buildings. http://www. recyclingandreuseofbuildings.com/page9.htm (Accessed Nov 2009). Pritzker, Jay. (1978). The Pritzker Architecture Prize. (online). The Hyatt Foundation: The Pritzker Prize. http://www.pritzkerprize.com/index.html (Accessed Jan 2010). Støre, Jonas Gahr. (2009). Norwegian Architect, Sverre Fehn, dies at 84. (online). Royal Norwegian Embassy in Washington. http://www.norway.org/ ARCHIVE/culture/architecture/sverre_fehn/ (Accessed Jan 2009). http://www.brainyquote.com/quotes/authors/j/jean_arp.html (Accessed Jan 2009) Site Visits Castelvecchio Museum, Verona. (November 2009) Querini Stampalia Foundation, Venice. (November 2009) Correr Museum, Venice. (November 2009) Accademia Galleries, Venice. (November 2009) Olivetti Showroom (exterior). (Venice, November 2009) Norwegian Pavillion, Venice Bienalle, Venice. (November 2009) 72
Venezuela Pavilion, Venice Bienalle, Venice. (November 2009) Central Biennale Pavilion, Venice Bienalle, Venice. (November 2009) Images References Figure 1: Gemma Roberts, 2009. (Site visit November 2009) Figure 2: http://www.therme-vals.ch/de/bilder.html Figure 3: http://www.flickr.com/photos/raphaelfranca/3019424268/ Figure 4: http://www.e-architect.co.uk/venice/jpgs/venice_biennale_ nealesmith160109_1.jpg Figure 5: http://www.artcurel.it/ARTCUREL/ARTE/ARCHITETTURA/ carloscarpa.htm Figure 6: http://4.bp.blogspot.com/_sHWyGuwqS-M/SbGo-/2eNHWTydb4I/ s400/new_perspective+2028.jpg Figure 7: http://www.worldarchitecturenews.com/index. php?fuseaction=wanappln.projectview&upload_id=1452 Figure 8: Gemma Roberts, 2009 Figure 9: Gemma Roberts, 2009 Figure 10: http://www.japancalligraphy.eu/ Figure 11: http://www.emis.de/journals/NNJ/Brown-fig03.html Figure 12: Gemma Roberts, 2009 Figure 13: http://www.eurocheapo.com/blog/venice-tip-free-glass-blowing- demonstrations-on-murano.html Figure 14: http://www.davonport.com/images/workshop01.jpg
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Figure 15: Gemma Roberts, 2009 Figure 16: Gemma Roberts, 2009 Figure 17: http://www.archiviocarloscarpa.it/web/disegni_tematiche.php Figure 18: http://www.archiviocarloscarpa.it/web/disegni_tematiche.php Figure 19: http://www.archiviocarloscarpa.it/web/disegni_tematiche.php Figure 20: http://www.mariabuszek.com/kcai/101-80/IntroImages/ Exam%203/RothkoBrBl.jpg Figure 21: Gemma Roberts, 2009 Figure 22: Gemma Roberts, 2009 Figure 23: Gemma Roberts, 2009 Figure 24: http://www.flickr.com/photos/ionutzica/3923064864/ Figure 25: Gemma Roberts, 2009 Figure 26: Gemma Roberts, 2009 Figure 27: Gemma Roberts, 2009 Figure 28: Gemma Roberts, 2009 Figure 29: Gemma Roberts, 2009 Figure 30: Gemma Roberts, 2009 Figure 31: Gemma Roberts, 2009 Figure 32: Gemma Roberts, 2009 Figure 33: Gemma Roberts, 2009 Figure 34: Gemma Roberts, 2009 Figure 35: Gemma Roberts, 2009 Figure 36: http://www.flickr.com/photos/atelier_flir/2925272745/ 74
Figure 37: Gemma Roberts, 2009 Figure 38: Chemollo, Alessandra. Manzelle, Maura. (2003). Carlo Scarpa at the Querini Stampalia. Venice: Ricordi. Figure 39: http://www.flickr.com/photos/atelier_flir/2678496772 Figure 40: Chemollo, Alessandra. Manzelle, Maura. (2003). Carlo Scarpa at the Querini Stampalia. Venice: Ricordi. Figure 41: Gemma Roberts, 2009 Figure 42: Gemma Roberts, 2009 Figure 43: Gemma Roberts, 2009 Figure 44: http://www.flickr.com/photos/maurizio_mwg/3046513844/ Figure 45: http://www.flickr.com/photos/krokaa/1260309511/ Figure 46: http://4.bp.blogspot.com/__kNRQXpY/RmU3luudMoM /s1600-h/_0001076958_jpg_844614a.jpg Figure 47: http://media.aftenposten.no/archive/00106/null_106614a.jpg Figure 48: http://www.abitare.it/wp-content/ uploads/2009/03/200854694_f353aeef21.jpg Figure 49: http://www.flickr.com/photos/krokaa/1261224146/in/set- 72157600227666652/ Figure 50: http://www.flickr.com/photos/pg/2987113463/sizes/o/in/set- 72157608515661426/ Figure 51: http://www.flickr.com/photos/10452434@N07/1076041592/ in/set-72157618457633697/ Figure 52: http://www.therme-vals.ch/de/bilder.html 75
Figure 53: http://www.flickr.com/photos/barbfi/sets/72157604552887060/ with/2420666919/ Figure 54: http://www.flickr.com/photos/10452434@N07/1075182217/ sizes/o/in/set-72157618457633697/ Figure 55: http://www.flickr.com/photos/10452434@ N07/1075182217sizes/o/in/set-721576184575697484 Figure 56: http://www.davids-world.com/archives/tate_modern.jpg Figure 57: http://knowledge.allianz.com/nopi_downloads/images/3_ reichstag_quer.jpg Figure 58: http://www.fosterandpartners.com/content/projects/0828/77556. jpg Figure 59: http://www.flickr.com/photos/sarah_jane/12022285/ Figure 60: http://www.flickr.com/photos/fotoiris/2510546295/
Figure 60 (opposite): Low impact design at Querini Stampalia’s garden
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