"Restoration is Improvisation." by Jonathan Tong

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M A R F T H E

5 3 0 1

H O N O U R S

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Student:

Jonathan Tong

Student ID:

440158213

Date submitted

December 2020

Supervisor:

Dr Paolo Stracchi

Coordinator:

Dr Chris Smith

Thesis on the concepts of Restoration and Jazz Imrpvoisation through case study “Museo Civico di Castelvecchio” by Carlo Scarpa.

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nsi’tc . is on ti ra to es R u m en oz fr RestoraCtionreaistion . Jaovzzisation Impr RIestomraprtiovonisatision . SeleActctiveI: Demolition.

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“Be in the moment.”

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o work of art in history last forever. 1 It couldn’t, and it shouldn’t. Because, simply, history is continuous. 2 And so is the built history of any work of art. It is constantly in the making. So to mean to ‘restore’ a work of art is not by rebuilding to a given time in its built history, but to realign it to the continuous current of time by a constant creation and constant demolition of its built fabric. As only then, historic clarity is constantly restored.

1 St John’s College University of Cambridge, “Anti-building” for the future: the world of Cedric Price,” accessed December 2, 2020, https://www.joh.cam.ac.uk/anti-building-future-world-cedric-price 2 Sheffield School of Architecture, “Richard Murphy lecture about the work of Carlo Scarpa,” posted April 1, 2014, YouTube video, 1:23:59, https://www.youtube.com/ watch?v=v_78_KQZiP8

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the historic clarity of a building by a

transfiguration

mode of ‘improvisation’ — a constant

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modern interventions fused by artistic

built fabric. This is conducted through

craftsmanships; and lastly, third act: a

drawing parallels with the complex

creative addition of modern tectonics

restorative procedures perfor med by

that juxtaposes with the old.

built

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Carlo Scarpa in the “Museo Civico di

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elucidating

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jazz musicians in the improvisation

unconventional

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for m the quintessential approach in

the improvisative restoration in jazz

seamlessly conversing the old with the

offers a lens to elucidate the complex

new with total interdependency and

restorative scheme perfor med in the

total

Castelvecchio museum in which was

ultimately ensuring a work of art

conducted by three acts of alterations

is constantly restoring its historic

— first act: a selective demolition

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removed; second act: an interpretive

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history of additions and pastiche are

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This paper explores a complex mode of

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estoration, by its very nature, is a mode of creation.

The moment a work of art built in the past is under any rebuild operation conducted in the present, it is amongst the creation of a new layer of its built history. Now this goes to whether the operation is a ‘successful’ restoration in which renews historic clarity, or a detrimental one that obscures historic clarity. Either way, an unscratchable record of the Present is being created as a new historic chapter in its built timeline. And by that is undoubtably (very) scary. But equally, very fascinating as a creator responsible for the chapter telling about his Present.

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past-Present, historic clarity now is under an immediate obscurement. To mean to ‘restore’ a building, thereby, has never meant to be a rebuilding of its original historic built layer. But to restore a building’s historic clarity back in alignment with the Present by the act of creation.

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his mode of restoration in light of creation comes in many for ms. One of which, promoted by Eugène Violletle-Duc, is to extend the imaginations of the Past with the technology of the Present. In his book the Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle, he declared, “To restore a building is not to preserve it, to repair, or rebuild it; it is to reinstate it in a condition of completeness which could never have existed at any given time.” 2 He demanded a modern architect to first be in the position of an archaeologist, to be in the shoes of the original architect, and acquire a full understanding of what made the architect build the building the way it is. Only then, the new creation intervened could be a felicitous extension of what the previous architect would have done if he were in the present context.

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In turn, as a safe haven of an escape solution, many restoration works operated in the modern times comically reduced themselves into a for mal mimicry of the original layer of fabric in history. Some, even worst, a direct replica of the original. 1 So as to (rather pathetically) not ‘piss’ the previous architects off. However by such very attempt of rebuilding a fabric that was solely designed to represent the already-

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Often times the fear in ‘messing up’ the existing established historic layers get in the way of an architect’s sagacity and enjoyment in his own layer of creation. Especially on top of which how the modern times sets itself apart all the more distinctly from the built styles of the previous eras - no matter in architectural ambitions, tectonic languages, technological advancements… it is without question that funny-looking new kid on the block - thus by which makes it extra difficult to introduce it into an already-har moniously layered architecture compounded with various times all shared a similar stylistic language.

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1 UNESCO, “reserving and restoring monuments and historic buildings,” (1972): 105, https://unesdoc.unesco.org/ ark:/48223/pf0000001105.

2 Eugène-Emmanuel Viollet-le-Duc, Restoration from the Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle (London, England, 1875), 9.

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Another mode, promoted by John Ruskin, is to ‘restore’ by embracing the natural aesthetics of decay created upon the building in the effects of the Present environment. In Ruskin’s own words, restoration is “the most total destruction which a building can suffer.” 3 He saw nothing but absolute worthlessness in the pursuit of adding a layer of creation by man as an attempt to resurrect the dead. To which he put forward the romantic notion of, “Let the building die” 4 as a perfect manner to record and celebrate the Present.

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arlo Scarpa, by a stark contrast to both Viollet-le-Duc’s restoration by for mal reinstatement or Ruskin’s restoration by aesthetics of natural decay, promoted restoration in light of creation at its utmost for m — a restorative work of art that is constantly creating; one that constantly superimposes all layers of Presents from the past, present, and future right throughout the tissue of each others’ built fabric. Ultimately culminating in an enigma of an architecture that restores its historic clarity neither to the past, present, or future, but to the constant animation of the Present, namely, True Present - a construct made by constant creation and constant demolition.

3 John Ruskin, T he Seven Lamps of Architecture (London, England: Smith, Elder, and Co., 1849), 162.

4 Ellen Sorka, “Restauro in Venezia,” Jour nal of Architectural Education 47, no. 4 (1994): 226. http://www.jstor.com/ stable/1425340.

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As complex as this restorative approach is shaping itself to be, as a result, the new built fabric ends up being so wellblended into the tissue of the old that it could be rather inaccessible in grasping an understanding of exactly how Scarpa managed to orchestrate such an illusion of an architectural superstructure that restores in alignment to True Present.

n the following paper, a critical study of the “Castelvecchio museum” is conducted in aim to elucidate a highly complex mode of restoration that works off the unpredictabilities of the nature of True Present, through the lens of the intricately established principles embedded within the craft of jazz improvisation.

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Fig 1. “Improvising Castelvecchio”(Own image)

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scar Peterson, widely known as one of the greatest American jazz pianist in the modern times, once said:

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t’s the group sound that’s important, even when you’re playing a solo. You not only have to know your own instrument, you must know the others and how to back them up at all times. That’s jazz.” 1

~ Oscar Peterson

1 Murray Horwitz, “Oscar Peterson: ‘The Sound of the Trio’,” NPR, accessed December 1, 2020, https://www.npr. org/2011/06/20/4184723/oscar-peterson-the-sound-of-the-trio.

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Fig. 2. A group sound of disonnances and consonances feeding off each otherâ&#x20AC;&#x2122;s shapes and structures. Created by S. Neil Fujita. [1997] Painting for album cover of The Dave Brubeck Quartet. https://www.udiscover music.com/stories/the-100greatest-jazz-album-covers/

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Fig. 1. An illustration of how the new improvised strucutre work off the existing but for ming a critique of the old. Created by Roland Nicol [2013] Artwork for “Creole Soul” album cover of Etienne Charles. https://www.udiscover music.com/stories/the-100greatest-jazz-album-covers/

azz improvisation is a group effort. 1 It involves a live exchange of constant demolition and constant creation amongst individual musicians. Each instrument would selectively demolish and build on top of each others’ established melodic structure, working off the existing solo, all in the 1. Alore, “10 Suprising Insights into Leadership and Teamwork from Jazz,” Medium, accessed Decemeber 1, 2020, https://medium.com/productivity-revolution/10-surprising-insights-into-leadership-and-teamwork-from-jazz-e3a401adca42.

aim to perfor m a new solo that ironically picks a fight with the existing lines created by the previous musician. A new interpretation of the old that plays to ironically establish a critique on the old. Sometimes, even a mockery of it.

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Yet in order for the new solo to ‘really properly take the mickey out of the old ’, one has to paradoxically first grasp a full understanding of what made the original song the song. Then, and only then, the new improvised creation could truly be a new har monious layer of creation that feeds off the original ideas while at the same time take a piss on the old.

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Created by Marty Nor man from Bob Slutzky Graphics [1960] Artwork for “Coltrane plays the blues” album cover of John Coltrane. https://www. udiscover music.com/stories/the-100-greatest-jazz-album-covers/

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Fig. 1. An abstract painting of an improvised fabric in transfor mation.

The resulted fabric of improvisation at the end is always so richly combined with consonant interpretations and dissonant critiques of the old so much so that it dominates over the original.

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“interpretative ambition for an unspoilt completeness to historic monuments and structures developed a practice that was driven by the sensibilities of their author and time more so that those of the original.” 1

s complex and dishar monised as improvisation may sound, the very procedure that a jazz musician goes through in tackling

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This practice of improvisation echoes with Paul Ring’s remarks on Scarpa’s restorative operation on the existing building of Castelvecchio, in which he stated,

an existing musical piece is in fact meticulously controlled and surgical. The procedure of Jazz improvisation goes as follows: First act (I): a selective demolition of the existing fabric by making a series of value judgements in keeping fragments of the original notes that still makes the song the song while making space for the new notes; second act (II): an interpretive transfiguration of the remaining qualified fragments of the old within each of its existing chord boundary; and lastly, third act (III): a creative addition of new notes that starkly juxtaposes with the old.

1. Katy Lomas and Paul Ring, Restoration: Authenticity and Deception (BNERP Architecture, 2012), 6.

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Rearranging the remaining existing fragments within each of its existing chord boundary.

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Adding completely new notes spontaneously created by the musician in the very present moment.

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Fig 2. An illustration of the procedure in jazz improvisation (Own image)

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n Richard Murphy’s assertion of Scarpa’s restorative work perfor med in the Castelvecchio museum in Verona, Murphy proposes the restored architecture as “a built version of William Morris’s theory” 1 , in which Morris famously declared, “The past is not dead, it is living in us, and will be alive in the future which we are now helping to make.” 2

Sheffield, “Richard Murphy lecture.”

2. Lisa Heledd Jones, ““The past is not dead, it is living in us, and will be alive in the future which we are now helping to make” William Morris.” Lisa Heledd Jones (blog), March 25, 2016, https://medium.com/@lisaheleddjones/the-past-is-notdead-it-is-living-in-us-and-will-be-alive-in-the-future-which-weare-now-helping-603d54425ac0.

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carpa understood the continuity of history. 1 He understood the idea that nothing stays the same. That no work of art lasts forever - it couldn’t, and it shouldn’t. And so should the restorative operation on a work of art, it should always be on the move with True Present by constantly creating and constantly demolishing.

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This notion in light of reengaging the built past with the present in a mutual conversion over the uncertainty of the future, resonates ever so intimately with Frank J. Barrett’s statement on the principles of improvisation in a jazz composition, in that it “involve(s) making connections between past experience and present intuition, trying out ideas with no guarantee of where it will lead in the presence of other committed and skilled players.” 2

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Fig. 1. A superimposed layers delineating the past, the present and the future. Created by Giuliyani [1960] Artwork for “Black Radio” album cover of Robert Glasper. https://www.udiscover music.com/stories/the-100-greatest-jazz-albumcovers/ 1.

Sheffield, “Richard Murphy lecture.”

2. Frank J. Barrett, “What Charlie Parker And Thomas Edison Knew: Jam Sessions Make New Ideas Happen,” FAST COMPANY, accessed November 25, 2020, https://www.fastcompany.com/3000964/what-charlie-parker-and-thomas-edisonknew-jam-sessions-make-new-ideas-happen.

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ow, before Scarpa had come onto the scene and perfor med his restoration on the Castelvecchio museum, the building itself had gone through four layers of history in a span of 700 years. 1 Originally it has been a building of military purposes, which then had undergone several alterations and modifications - being cannonaded, reconstructed, reinstated, and on its fourth layer of history, being restored by Antonio Avena, the director of Verona museums in 1926. 2

Fig. 1. Original northern facade of the then-military building of Castelvecchio museum in 1990. Archcollege. Accessed December 4, 2020. http://www.archcollege.com/ archcollege/2019/02/43415.html

Fig. 1. Castelvecchio museum canonaded in 1945. Wikipedia. Accessed December 4, 2020. https://it.wikipedia.org/ wiki/File:Castel_Vecchio_1945.jpg.

Fig. 1. Castelvecchio museum in 1957.

1. “Carlo Scarpa Restoration,” Veronissima. Accessed December 2, 2020. http://www.veronissima.com/sito_inglese/ html/tour-museums-castelvecchio-scarpa.html. 2.

“Carlo Scarpa Restoration.”

Emaze. Accessed December 4, 2020. https://www.emaze.com/@ AQOQLCQR.

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hat Avena intended was to restore the Castelvecchio to its first medieval appearance. 1 His mode of restoration was to bring back the alreadypast Present to the present Present. To resurrect the dead.

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Breakfast Mission Publishing. Accessed December 4, 2020. http:// www.breakfastmissionpublishing.com

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Fig. 1. Three arched loggia entrance constructed in Antonio Avena’s time.

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Fig. 1. New facade with Antonio Avena’s layer of improvisation and Scarpa’s improvised layer under. Archcollege. Accessed December 4, 2020. http://www.archcollege.com/ archcollege/2019/02/43415.html

To Scarpa, such improvisative restoration of Avena all the more detrimentally obscures historic clarity. In Scarpa’s own words, “In Castelvecchio everything was fake”. 2 And this very statement for ms the undertone running through all three acts of Scarpa’s own turn of improvisative restoration.

1. Charles Holland, “Invention & revelation,” The RIBA Journal, accessed December 2, 2020. “Carlo Scarpa Restoration.”

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n the first act of the restorative operation of the Castelvecchio museum (~1957) — the process of demolition of the existing old tectonics — as Murphy remarked, “was highly selective and involved value judgements as to which fragments were worth preserving.” 1

Holland, “Invention.”

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Except, paradoxical enough, Scarpa did not do that at all.

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Neither did he keep all the built pieces that he valued, nor did he get rid of everything that he didn’t value - For instance by largely keeping those pieces created during Avena’s near-pastiche renovation in the 1920s. 2 What Scarpa eventually conducted was demolishing existing fragments of which he both valued and not valued in light of built history, and deliberately leaving an open organisation of the remaining qualified pieces of fragments of which he both valued and not valued as well.

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For Scarpa, above all, is the value of historic clarity. 1 Thus, logically speaking, what was worth preserving then would be all the built pieces that he viewed as historically clear, and what was not worth preserving would be every single built pieces that he viewed as historically obstructive down in the built timeline.

Now, the key here, is exactly what was defined by Scarpa as ‘worth preserving’, and what was not. And this is completely free from Scarpa’s judgments on what was valuable to built history and what was obscuring built history.

Sheffield, “Richard Murphy lecture.”

2. Peter Blundell Jones and Eamonn Canniffe, Modern Architecture Through Case Studies, 1945‐1990 (Amsterdam: Elseview/Architectural, 2007), 113.

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As declared by Georg Simmel, “the secret of for m lies in the fact that it is a boundary; it is the thing itself and at the same time its ending”. 1 Scarpa was interested in the process of selective fragmentation of a material for m within its own for mal boundary. This in turn sheds light on Maurice Blanchot’s investigation of the open organisation of fragments done by Scarpa, to which she asserts, “the fragmentary poem is not incomplete, but one which opens up a different mode of completion: that mode which comes into play in the for m of expectancy, of questioning, or of an affir mation irreducible to unity”. 2 What was valuable to Scarpa is, yet again, the restoration of historic clarity. What was worth preserving in turn is everything that was part of its built history. Every ‘good’ and ‘bad’ pieces of renovations. As they all contribute to the building’s true historic timeline.

Fig. 1. Demolition process during Scarpa’s improvisation of the northern facade, deliberately leaving the ‘invaluable’ windows and openings. Photo by Umberto Tomba. “Verona, Museo di Castelvecchio (1A fase), cortile” Fototeca Scarpa. Accessed December 4, 2020. http://mediateca.palladiomuseum.org/scarpa/web/foto_scheda. php?valo=i_6_7127#

So, as for the first act, there were fragments that Scarpa judged as utterly historically erroneous and then thought they were worth preserving; and at the same time there were fragments that he judged as quintessentially valuable to built history but then decided to demolish them. 1. Sheffield, “Richard Murphy lecture.” 2. Manfredo Tafuri, “Carlo Scarpa and Italian Architecture” Carlo Scarpa T he Complete Works, ed Francesco Dal Co and Giuseppe Mazzariol, (New York: Electa/Rizzoli, 1985), p. 77

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The past reestablishes its tectonic authenticity by undergoing a selective erasure of the old fabric to make way for the new by keeping fragments that make the building the building it is; however not at the expense of the old fabric, but more tellingly, as the very catalyst for the subsequent second and third acts of Scarpa’s restorative process of the Castelvecchio.

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Such a strikingly paradoxical gesture resembles the essence of ‘a free-play of dishar monised har monies’ iconically intrinsic to jazz improvisation. 1 Such seeming fashion of free-play however, like in jazz improvisation, could only be achieved by gaining a full understanding of the existing fabric and an extremely surgical planning of the entire restoration process.

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demolition process is conducted all for the purpose of preparing the proper fragmented voids for the new interventions to perfor m an interpretative demarcation within the boundary of each existing fragments.

Fig. 1. Demolition process during Scarpa’s improvisation showing the ‘valuable’ grand 19th century Napolean staircase, to be demolished later on “Castelvecchio, Carlo Scarpa 2001 prize” Fondazione Benetton Studi Ricerche. Accessed December 4, 2020. http://en.fbsr.it/ fbsr.php/il_paesaggio/Premio_Carlo_Scarpa/luoghi_premiati/ Castelvecchio_di_Verona

Sheffield, “Richard Murphy lecture.”

Barrett, “What Charlie Parker.”

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Inter Mockery.

Now, how does the new ‘live’ with the old? By a riendly quarrel. Not a friendly agreement, oddly enough. But a ‘har monious dishar mony’.

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It is here to be surfaced that there is a meticulous act of balancing, or rather an intrinsic manner of approach running under all of Scarpa’s reconstitutions that allows for the new and the old fabric to work with and work off each other while establishing total dependency and interdependency synchronously. Such an enigmatic approach could be elucidated through the lens of how jazz musicians seamlessly introduce the new creations amongst the old fragmented notes but still maintain, and even enhances their individualities.

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In jazz improvisation, the new plays to establish its own ego. Yet still working in perfect har mony with the old. After the selective demolition of the old in the first act, the new notes would build on top of the now-fragmented open structure, by for ming a deliberate juxtaposition with the old. Essentially by picking a friendly

1. Sean Dietrich, “Chuck Israels: Evans, Education And Philosophy,” ALl About Jazz, accessed December 2, 2020, https://www.allaboutjazz.com/chuck-israels-evans-education-and-philosophy-chuck-israels-by-sean-dietrich.php.

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In the words of world renowned jazz composer and bassist Chuck Israels, “Music needs the juxtaposition of opposites to achieve its drama, so harshness and dissonance are simply part of the material a musician can use to create a musical work. All one thing is a bore—all dissonance, or all fatuous consonance.” 1 It goes without saying however, not any arbitrary imitations and conflicting additions would converse with the existing fabric in the same way jazz improvisation has managed to achieve its dishar monised har mony that essentially makes jazz jazz. And the similar token goes to the “Castelvecchio”; it does not mean any discordances that one produces would, somehow, be in the same balance and chemistry of that ‘dishar monised har mony’ Scarpa was able to create with his additions and transfigurations in his restoration. Even if so, paradoxical enough, what about the ‘consonance’ part of the equation?

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fight with each other in a manner that conversely highlights a piece of detail of the old that may not have been noticed before had the new intervention not been here. And vice versa, the old would spontaneously juxtaposes the new in a way that accentuates the presence of the new. Just as an architect’s role is to transmogrify the building of restorative purpose as “both a mediator and commentary, allowing all parts (with) their own authenticity.” 1 As Sorka denoted on the felicitous awareness of juxtapositions in tectonic languages, that “it is not just the proximity of two unlike languages jamming together and automatically make for their relationship, but more so it is the invention of something between the two or of the commentary of the secondary language on the first that allows this relationship to occur.” 1 And such commentary is key. More so, the very manner of such commentary of the new invention is all the more pivotal in positioning whether the purpose of this improvisation with the old is an act of consonance, or an act of dissonance:

The first commentary being an ‘interpretation’ - this being the second act. Whereas the other, a critique, or even at times, a ‘mockery’ - this being the third act.

1. “Authenticity: Scarpa’s Castelvecchio”, rethinking preservation, 2012, http://modernpreservation.blogspot. com/2009/08/authenticity-scarpas-castelvecchio.html. 2.

Sheffield, “Richard Murphy lecture.”

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Prior to this dissonance/consonance commentary of the new on the old - being the second (II.) and third (III.) act in the improvisative restorative procedure, Scarpa’s for mal demolition - being the first act (I.) - by which has now proved how it needs to be highly selective and astute in order to prepare the proper grounds of fragments for the subsequent commentaries to know whether it should, essentially, either celebrate the old by interpretation, or take a piss on the old by mockery - as a means to restore the building back in alignment with True Present. 2 Here, one crucial point to note is that Scarpa perfor med his improvisation on the existing fabric in a very small scale of frame with an ‘itsy-bitsy’ manner. He conducted all I, II, and III procedures all on one piece of existing fabric, then he moved on to the next piece and perfor med all three procedures there, and so on. He wouldn’t take away a wall at one place and then go over to another place at the other end of the building and add something there. As this solely leaves an unanswered fragmental void alone at the first place, and leaves a

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Soroka, “Restauro in Venezia,” 228.

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work in the craft based city of Venice, it is in the blood of Scarpa’s to embellish all the nor mal objects like door handles, handrails, into almost jewellery as a momento to preserve the Present through vernacular craftsmanships. 2 Thus, such so-called friendly quarrels between the old and new, are orchestrated in a mixture of interpretative and critical commentaries that ultimately redirect you to a particular detail of the existing fabric that you might not have noticed before had the new addition not been there. 3 And only by such, a total interdependency and total independency could be achieved amongst the different layers of built fabrics within a single capacity of architecture and hence revitalising different Presents in history, ultimately restoring historic clarity to True Present. 4

Sheffield, “Richard Murphy lecture.”

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Sheffield, “Richard Murphy lecture.”

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It almost has to be in such small scale in fact for the improvisative restoration of “Castelvecchio” in fact. There are three reasons to it: first: in order to truly restore the entire architecture to keep up with the Present, every little piece of existing fabric need to come in contact with the improvisative treatment to really work the ‘new’ right into the tissue of the ‘old’; second: as it is a museum, there are sculptures awaiting to be revitalised and be visited and be looked at, naturally so should their architectural background as visitors tend to pick up the same level of details on the architecture as on the sculptures; 1 and third: with Scarpa being an extremely craft based architect largely stemmed from his substantial

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new intrusive fragment suddenly out of nowhere at the second place where the exisiting whole-piece there has never called for one. Just like when a jazz musician is deconstructing the original composition during an improvise session, it is tackled by one fragment of a note at a time. Because of the very nature that the improvised fabric is being created one fragment of a note at a time in real time.

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erhaps the most extensive operation of improvisation conducted in the Castelvecchio museum is over at the gallery spaces northern to The Great Courtyard. A lot of Scarpa’s tectonic languages and detail embellishments could be distilled from the reorchestration of the layer of existing facade renovated by Avena to which Scarpa geometrically, tectonically, and materially for med a strong critique towards. 1

Holland, “Invention.”

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roughly finished concrete. 1 Like some foreign stickers patched together so as to ‘restore’ some sort of an ‘original’.

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ne of the most fascinating but at the same time scariest attribute about jazz improv is the friendly quarrels that a musician would pick on the one improvised before him. Such motive of jazz improv is transposed across and exercised to a supremely meticulous extent in Scarpa’s mockery of an improvisation over Avena’s own improvisation on the existing main entrance previously. Avena’s improvisation was orchestrated by reusing the gothically embellished windows from some other buildings that were ruined by the flood in 1882, and stuck them onto the main facade of

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Photo courtesy by MIBAC “Restoration of Castelvecchio Museum” Atlante Architecttura Contemporanea. Accessed December 4, 2020. https://www.atlantearchitetture.beniculturali.it/en/restauro-e-allestimento-del-museo-di-castelvecchio/

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Fig. 1. A shot of the northern facade after Scarpa’s restorative improvisation in 1956.

ere, what Scarpa had set out to do was intentionally keeping this fragment he saw no value in, for the very purpose of later making a critical juxtaposition with his creations. This ultimately resonates with the exact manner when “a Jazz musician plays someone else’s song, he has a responsibility to make a distinct & original statement” asserted by Todd Boyd. 2

“Carlo Scarpa Restoration.”

2. Judith Milena Cord-to-Krax, “Todd Boyd on playing someone else’s music,” Judith Milena Cord-to-Krax (blog), December 3, 2020, http://judithmilena.com/todd-boyd-playing-someoneelses-music/.

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remaining fragment of the grey rough concrete facade was missing a fragmental portion within its existing for mal

boundary. So subsequently, it calls for a ‘commentary’. A new piece that fills the fragmental void but is still controlled within the existing boundary, and use this new piece as the very tool to make a distinct statement pointing out the utter futility of the remaining fragment. To put simply, a new piece of built fabric that takes a piss on the foreign-looking gothic loggia facade.

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At the three-arched loggia entrance, Scarpa first selectively demolished the entire surface of the existing inner wall which in fact held the real entrance from the courtyard. 1 At this point in time, the

Fig. 1. A photo showing Scarpa’s deliberate keeping of Avena’s facade to ‘take a piss’ on it by his later modern interventions. Photo by Umberto Tomba. “Verona, Museo di Castelvecchio (1A fase), cortile” Fototeca Scarpa. Accessed December 4, 2020. http://mediateca.palladiomuseum.org/scarpa/web/foto_scheda. php?valo=i_6_7127#

“Carlo Scarpa Restoration.”

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a theatre play; ultimately mocking the presence and authenticity of Avena’s facade, suggesting the second one behind it is the real one. 2

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The disassociation of Scarpa’s secondary facade against Avena’s first is further accentuated by the explicit asymmetry displayed in the elevation. With Scarpa’s installation of the vertical mullions on the upper screen with varying articulations of the frames and panel widths, plus the extruded platfor m aligned asymmetrically with the rhythm of the three arches, when viewed from the entry point, act as a critical backdrop to the existing fragment in the front. 3

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Scarpa thereby first set out to design an upper screen made of steel and glass in conjunction with a lower “threedimensionally modelled planes of solid and glass” that fills the capacity of the room behind the loggia. 1 This screen not merely displays a stark material juxtaposition between the old-Present and the Present, but by pulling back this screen just enough so that it never touches the three-arched loggia, this unveils the thin- looking gothic facade and renders it like a stage set board from

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Fig. 1. A shot highlighting the thinness and ‘fakeness’ of Avena’s facade. Courtesy of CUBEdesign+research. “ Authenticity: Scarpa’s Castelvecchio” Accessed December 4, 2020. http:// cubedesignresearch.com/2009/08/authenticity-scarpascastelvecchio/

Fig. 1. An entrance elevation view accentuating the asymmetrical orchestration between Scarpa’s and Avena’s layers of facades. Breakfast Mission Publishing. Accessed December 4, 2020. http:// www.breakfastmissionpublishing.com

1. Richard Murphy, Carlo Scarpa and Castelvecchio Revisted (London, 2017), 162. “Carlo Scarpa Restoration.”

Murphy, Carlo Scarpa, 136.

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n contrast to Scarpa’s critical mockery on the existing facade improvised by Avena, Scarpa’s improvisative restoration of the existing last room (now the Cangrande space) ever so strikingly interpreted and poetically celebrated the equestrian statue of Cangrande. In Murphy’s bold assertion, the Cangrande space “could be argued that it is the most extravagant architectural setting in which to display a single work of art that has ever been created.” 1

Sheffield, “Richard Murphy lecture.”

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Fig. 1. An upshot showing the entirety of the most improvised space in the Castelvecchio museum, in celebration of the Cangrande statue.

Courtesy of Archivio Carlo Scarpa – Museo di Castelvecchio – Verona. Accessed December 4, 2020. https://www.conceptualfinearts.com/cfa/2020/03/19/museum-displays-is-now-the-time-to-rethinkthem/

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of the Cangrande space, although marks a juxtaposing gesture against Avena’s planning, the role of ‘the old’ could be read more as the Cangrande sculpture and the architecture of the museum itself; in an alternative sense, the improvisative conversation between Scarpa and the restorations done before Avena’s.

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The motive of Scarpa’s improvisation

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n the first act of selective demolition, the procedure was lead by the discovery of the Porta del Morbio gateway, concealed within the ancient Commune wall. 1 To which, funnily enough, such discoveries or accidents resonate with those so-called happy accidents often produced from a jazz improvisation interaction. 2 And by the same token, these discoveries spontaneously tell what the subsequent step of demolition should be conducted. In the case of Castelvecchio, this finding prompted and confir med the removal of the last room of the existing northern

1. Murphy, Carlo Scarpa, 170. 2. Andrew Todd and Steve Tompkins, “Theatre Architecture: Convivial or Imperious?,” Studio Andrew Todd, accessed December 3, 2020, http://www.studioandrewtodd.com/publications/.

Fig. 1. The discovery of the Porta del Morbio ancient gate. Photo by Anonimo. “Verona, Museo di Castelvecchio (1A fase), porta del Morbio.” Accessed December 4, 2020. http://mediateca.palladiomuseum.org/scarpa/ web/foto_scheda.php?valo=e_6_6922#

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gallery room, which in turn prompted the discovery of another artefact four years after the first one, the accidental discovery of the Scaligeri moat in 1962 after the excavation of a lime pit. 1 Here, this again resonate intimately with jazz improvisation in which its unique ‘rolling’ motion of demolition

Fig. 1. Showing in the background, the grand external staircase of the French barracks which were later entirely demolished by Scarpa.

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“Castelvecchio, Carlo Scarpa 2001 prize” Fondazione Benetton Studi Ricerche. Accessed December 4, 2020. http://en.fbsr.it/ fbsr.php/il_paesaggio/Premio_Carlo_Scarpa/luoghi_premiati/ Castelvecchio_di_Verona

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with no guarantee of where it will lead to. This without a doubt, are incredibly scary. But as previously elucidated, the

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ll of such audacious demolitions up till this point were essentially the erasure of important historic pieces

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and creation process tend to engender the production of happy accidents along the process by which are the catalyst to other spontaneous demolitions and interpretations to follow. 2 The unveiling of the moat thereby infor med Scarpa to conduct a full demolition of the entire bay of room 6 and to reveal “the full sweep of the Commune wall liberated from nineteenth-century additions”. 3 This meant the demolition of the “the grand external staircase built as an integral part of the French barracks” as noted by Murphy. 4 This here was a case when Scarpa took down a piece of the existing that he thought was valuable, but not worth preserving. Such an instinctive and spontaneously driven demolition is a fundamental attribute shared in jazz improvisation in the demolition of an existing musical piece, in which it values more in creation than in preservation.

incompletion of a fragment is also “one which opens up a different mode of completion”. 5 Thus, scary, but equally fascinating with all its infinite potential unfoldings of Meaning.

1. Murphy, Carlo Scarpa, 170. Tood and Tompkins, “Theatre Architecture.”

Murphy, Carlo Scarpa, 171.

Manfredo, Carlo Scarpa, 77.

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Fig. 1. A convergence of the now liberated Commune wall, the northern facade, and the Porta del Morbio Gate all to celebrate the Cangrande statue. Courtesy of Thought Craft Architects. “castelvecchio_01” Accessed December 4, 2020. https://www.thoughtcraftarchitects.com/ blog/2009/08/authenticity-scarpas-castelvecchio

Scarpa’s saw the opportunity of the convergence of all these layers of history accomodating into one spacial capacity. A potential creation of an illusion of an architectural backdrop with different times conversing with and across each other, that were not possible if the full demolition had not been done. So this was a ‘measured gamble’ made by Scarpa, and made in the moment, based on his value judgement of the interpretations this move could bring about. Such quality of a measured unpredictability in fact is the very essence of improvisation in jazz, of which it “involve(s) making connections between past experience and present intuition, trying out ideas with no guarantee of where it will lead in the presence of other committed and skilled players.” as asserted by Barrett. 1

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Holland, “Invention.” Barrett, “What Charlie Parker.”

The subsequent act of interpretation by Scarpa on the famous Cangrande statue, perhaps elucidates the parallels to the quintessence of jazz improvisation in the most striking of ways.

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rior to an immediate operation of interpretation, a jazz musician has to acquire the essential pieces of knowledge that makes the musical piece the way it is — like the historic background to the score, and the present context to which the score is missing, and of course the musical ideas written in it. In the case of Scarpa, he first became aware of the layers of history that the Cangrande statue had been through, so to be able to delve into the lens of the sculpture’s historic timeline and make a sagacious interpretation on what it now truly needs.

1. Murphy, Carlo Scarpa, 175.

Fig. 1. A convergence of the now liberated Commune wall, the northern facade, and the Porta del Morbio Gate all to celebrate the Cangrande statue. Photo by Lala Aufsberg. “Grabmal des Cangrande I. della Scala” Accessed December 4, 2020. https://www.deutsche-digitale-bibliothek.de/item/ HR3E4KWELLROAAZH6WVCSEYMXMCEM5FY

The Cangrande statue of the Della Scala family, contained the most layers of history than the rest of the statues housed in Castelvecchio. 1 It had been placed on “high pinnacles over tombs” and also had “stood on the spire of S. Maria Antica”. 2 One thing in common throughout all its historic manoeuvrings were that it had always been observed from afar and from below only. 3

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Fig. 1. The ‘concrete origami’ as described by the director of the mseum Magagnato. Photo by Paolo Monti. “Servizio fotografico (Venezia, 1982)” Wikimedia Commons accessed December 4, 2020. https://commons.wikimedia.org/wiki/File:Paolo_Monti_-_Servizio_ fotografico_(Verona,_1982)_-_BEIC_6337280.jpg

What Scarpa saw here was the opportunity to perfor m a transmogrification of the statue’s historic timeline, by a present interpretation that further celebrates the status plus at the same time setting up the grounds for the building’s future restorative handovers. Scarpa first provided the vital quality that the statue had always possessed. By designing a pedestal forged as a ‘concrete origami’ offering out a hand (as

a continuation of the tectonic language throughout the other improvised fragments in the museum) for the statue to be delicately placed on, Scarpa gave the statue the same quality of height and airiness it had always been in the presence of. 1 This marks the clear epitomisation of a consonance of a commentary in his interpretation.

1. Murphy, Carlo Scarpa, 175.

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the internal gallery spaces through the glazed exit door he transfor med, and also from the entry point of the nowopened Porta del Morbio. 1

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Then, by pulling the statue forward towards the Reggia courtyard and orientating it 90 degrees, this deliberate manoeuvring was Scarpa’s second interpretation in aim to precisely place the statue in the framed sight from within

1. Murphy, Carlo Scarpa, 175.

Fig. 1. Showing a clear 90º extension supporting the Cangrande statue in a gesture of ‘a hand’. Courtesy of Alchetron. “Castelvecchio Museum” Accessed December 4, 2020. https:// alchetron.com/Castelvecchio-Museum#castelvecchio-museum-ced6075d-9d1a-4b9c-ac6c29de23329f8-resize-750.jpg

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Thirdly, perhaps the most significant of interpretative moves, was the creation of completely new viewing perspectives for the Cangrande statue that had never before been seen throughout its historic timeline. This is achieved by the introductions of new platfor ms: one in the for m of a footbridge which serves as

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the new circulation between the Mastio Tower and the Reggia; 1 one from the entry to the first floor gallery spaces; 2 and one steel platfor m cantilevered directly adjacent to the statue so as to provide and engage visitors with a much closer quarter conversation with the statue in creating such intimate distance between it that was never been done in its history. 3 J O N A T H A N T O N G • P A R T V I I

1. Murphy, Carlo Scarpa, 176.

3. Murphy, Carlo Scarpa, 176.

Photo by Federico Puggioni. “CARLO SCARPA MUSEO DI CASTELVECCHIO” Accessed December 4, 2020. https://divisare.com/ projects/332703-carlo-scarpa-federicopuggioni-museo-di-castelvecchio

2. Murphy, Carlo Scarpa, 176.

Fig. 1. Highlighting the three continuous new platfor ms and pathways to view the Cangrande status.

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What he had perfor med was manoeuvring the statue to a position where it was right amongst this new architectural backdrop he created that contained a fusion of every layers of history. By such orchestration, Scarpa left a clear package of all the layers of history that the next architect in the future need to know to be able to perfor m his restorative improvisation on the Castelvecchio again.

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ow, all of the interpretations have been conducted. But Scarpa’s vision did not stop there.

n addition, Scarpa intentionally turned the statue away from the orthogonal gridded architectural backdrop. 1 This is a gesture to “emphasise its independence from the structure supporting it; it is a part of the whole, yet it still lives its own separate life.” elucidated by Scarpa himself. 2 By doing so, it creates an ever so clear distinction and isolation of the statue against its background in such a way that, as Murphy surfaced, “It would have been discovered again, this time from above from the new footbridge between the Tower and the Reggia, a foretaste of the eventual solution.” 3 This resonates closely with the very quintessential gesture in jazz improvisation, of which is the creation of open-ended lines as a means of handover for the next solo to perfor m his own improvisation. It is a constant and continuous group effort between different musicians. Or as demonstrated by Scarpa in the Castelvecchio, between different architects in different times.

1. Murphy, Carlo Scarpa, 176. 2. Richard Murphy, Carlo Scarpa and the Castelvecchio (London: Butterworth Architecture, 1990) 115. 3.

Murphy, Carlo Scarpa, 176.

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Fig. 1. Showing a clear 90º extension supporting the Cangrande statue in a gesture of ‘a hand’.

Photo by Peter Guthrie. “carlo scarpa - museo di castelvecchio, verona, italia,” Accessed December 4, 2020. https://mapoesie.tumblr.com/post/187759616625/carlo-scarpa-museo-dicastelvecchio-verona

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hen asked about the quintessence of jazz improvisation at heart, Herbie Hancock, one of the most celebrated American jazz pianist, gave a comically simple answer that seemed to resonate hugely with Carlo Scarpa’s attitude in his mode of restoration of “Castelvecchio” to its true Present:

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azz is about being in the moment.” 1 ~ Herbie Hancock

1. Forrest, “Jazz Is The Moment,” Jazzadvice, accessed December 4, 2020, https://www.jazzadvice.com/jazz-is-the-moment/#:~:text=Jazz%20is%20about%20being%20in%20the%20 moment.,This%20moment.

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Yet, paradoxically, the very condition of an unpolished incompleteness of a built work present itself as the very catalyst for the successive architect to perfor m his own improvisation on. And so would his on the next and so on.

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In the restorative process of a work of art, the element of pleasure comes with the by-products of mistakes and accidental obscurement of historic clarity.

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As “read by Scarpa in 1942, where “pleasure” and “har mony” are said to be the constituents of the essence of art.” 1

It was never about restoring the work of art to a finished status. It had never meant that if one carefully follows the steps in the restorative procedure to the ‘t’ and then voila! Everyone ends up with a perfectly finished improvisative work of art now. As this merely results in a mechanically perfectly har monised compound, with no imperfections to propel it forward to the next act of restoration.

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To be in the moment means to be able to layer the new with the old in a har monious creation; but also, more tellingly, to be able to just let yourself loose and have fun in the improvisation process.

As Sokra denoted, “Scarpa never attempted to finish the building to a completed sense of its for mer life”. 2

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As criminally straightforward as that sounds, to truly ‘be in the moment’ through a work of art, is strikingly difficult.

--Not anyone can improvise. And not anyone who can har monise the old and new fabric, can improvise too. Only those who could take full enjoyment in the improvisation process, to be in the moment, could then truly restore a work of art to the continuity of True Present.

Tafuri, “Carlo Scarpa.” Soroka, “Restauro in Venezia,” 227.

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Alore. “10 Suprising Insights into Leadership and Teamwork from Jazz.” Medium. Accessed Decemeber 1, 2020. https://medium.com/productivity-revolution/10surprising-insights-into-leadership-and-teamwork-from-jazz-e3a401adca42. “Authenticity: Scarpa’s Castelvecchio.” rethinking preservation. 2012. http:// modernpreservation.blogspot.com/2009/08/authenticity-scarpas-castelvecchio.html. Barrett, J. Frank. “What Charlie Parker And Thomas Edison Knew: Jam Sessions Make New Ideas Happen.” FAST COMPANY. Accessed December 2, 2020. https:// www.fastcompany.com/3000964/what-charlie-parker-and-thomas-edison-knew-jamsessions-make-new-ideas-happen. “Carlo Scarpa Restoration.” Veronissima. Accessed December 2, 2020. http://www. veronissima.com/sito_inglese/html/tour-museums-castelvecchio-scarpa.html. Cord-to-Krax, Milena Judith. “Todd Boyd on playing someone else’s music.” Judith Milena Cord-to-Krax (blog). December 3, 2020. http://judithmilena.com/todd-boydplaying-someoneelses-music/. Dietrich, Sean. “Chuck Israels: Evans, Education And Philosophy.” All About Jazz. Accessed December 2, 2020. https://www.allaboutjazz.com/chuck-israels-evanseduca- tion-and-philosophy-chuck-israels-by-sean-dietrich.php. Forrest. “Jazz Is The Moment.” Jazzadvice. Accessed December 4, 2020, https://www. jazzadvice.com/jazz-is-the-mo-ment/#:~:text=Jazz%20is%20about%20being%20 in%20the%20 moment.,This%20moment. Holland, Charles. “Invention & revelation.” The RIBA Journal. Accessed December 2, 2020.

Horwitz, Murray. “Oscar Peterson: ‘The Sound of the Trio’.” NPR. Accessed December 1, 2020. https://www.npr. org/2011/06/20/4184723/oscar-peterson-thesound-of-the-trio. Jones, Blundell Peter, and Canniffe, Eamonn. Moder n Architecture T hrough Case Studies. 1945‐1990. Amsterdam: Else- view/Architectural, 2007. Jones, Heledd Lisa. ““The past is not dead, it is living in us, and will be alive in the future which we are now helping to make” William Morris.” Lisa Heledd Jones (blog). March 25, 2016. https://medium.com/@lisaheleddjones/the-past-is-notdead-it-is-living-in-us-and-will-be-alive-in-the-future-which-we-are-now-helping603d54425ac0. Lomas, Katy, and Ring, Paul. Restoration: Authenticity and Deception. BNERP Architecture, 2012. Murphy, Richard. Carlo Scarpa and Castelvecchio Revisted. London, 2017. Murphy, Richard. Carlo Scarpa and the Castelvecchio. London: Butterworth Architecture, 1990. Ruskin, John. T he Seven Lamps of Architecture. London, England: Smith, Elder, and Co., 1849. Sheffield School of Architecture. “Richard Murphy lecture about the work of Carlo Scarpa.” Posted April 1, 2014. YouTube video, 1:23:59. https://www.youtube.com/ watch?v=v_78_KQZiP8 Soroka, Ellen. “Restauro in Venezia,” Journal of Architectural Education 47, no. 4 (1994): 224-241. http://www.jstor.com/ stable/1425340.

St John’s College University of Cambridge. “Anti-building” for the future: the world of Cedric Price.” Accessed December 2, 2020. https://www.joh.cam.ac.uk/antibuilding-future-world-cedric-price. Tafuri, Manfredo. “Carlo Scarpa and Italian Architecture” Carlo Scarpa The Complete Works, ed Francesco Dal Co and Giuseppe Mazzariol. New York: Electa/ Rizzoli, 1985. Todd, Andrew, and Tompkins, Steve. “Theatre Architecture: Convivial or Imperious?,” Studio Andrew Todd. Accessed December 3, 2020. http://www.studioandrewtodd. com/publications/. UNESCO. “reserving and restoring monuments and historic buildings.” (1972): https://unesdoc.unesco.org/ ark:/48223/pf0000001105. Viollet-le-Duc, Eugène-Emmanuel. Restoration from the Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle. London, England, 1875.

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