TOUCH, FEEL, REMEMBER: Carlo Scarpa and the Tactility of Architecture
EXHIBITION FRIDAY 13 MAY 2022
by Paula Calixto Egues
Cover image: Tomba Brion. Photo by Ivo Stani. Reproduced from Divisare website, https://divisare.com/authors/2144743063-carlo-scarpa/projects/built
CONTENTS Foreword Didactic Panel Model Making Mosaic Brass Wood Rice Paper Concrete Vegetation Glass Water Interpretative Works Mystery Boxes
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FOR EWO R D Carlo Scarpa is acclaimed as one of the most influential architects of modern times. His work has been studied by many and his legacy has amazed us all over the world. The precision of his designs, the elaborate details, the geometric shapes, the narrative behind them, and his desire for preservation are unique to Scarpa’s work. However, the link between his material choices and the memory created in users, through our tactile sense, has yet to be explored. Through this exhibition, I intend to delve into the meaning of each material used by Scarpa in the construction of the Brion-Vega cemetery, and the effects it produces on the public through the power of touch. We will explore and discover the connection between the elements, deliberately left by the architect, and the tactility of architecture. A single touch is a powerful tool that can be used to construct an experience, an experience that can be remembered for a lifetime.
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TOUCH, FEEL, REMEMBER:
Carlo Scarpa and the Tactility of Architecture Can you remember the roughness of the concrete floor when falling, while playing as a kid?... The coldness of tiles on a winter day when walking barefoot… The feeling of calm within the wooden walls of the treehouse... Or the softness of the carpet under your feet? Paula Calixto Egues is excited to bring you an event that would test your touch, feelings, and memory; studying and reviving one of the most extraordinary works done by famous Italian architect Carlo Scarpa: The Brion-Vega Cemetery, in San Vito d’A ltivole - Italy. The exhibition examines eight materials used by Scarpa in the cemetery, trying to reveal the meaning behind these choices and their relationship to us, as humans. We will explore them visually, with photographs of specific locations, and physically, with models of selected components. An addition of four interpretations of his work in models will enrich the experience, and four mysterious boxes will test your remembrance. By reviving Scarpa’s work, we will encounter and explore the rawness of diverse materials, the emotional connection to the past, and the living relationship between builds, nature, and humans 1. Carlo Scarpa, known for mastering detailed work, craft, geometry, and use of local materials; left a legacy that continues to unfold, reminding us of the importance of preservation and the power of touch. Furthermore, his work, studied by many, inspires us to explore the materiality of uncommon mediums, pushing architects to blend universal styles 2. The Brion-Vega Cemetery tells a narrative through its walls and components, causing the visitor to react and feel in a certain way 3. The exhibition has been designed following this motive and wants to take you through a journey of sensations.
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It is a story where the protagonist is you, in the past, present, and future. The hope is that the public will retain traces of this experience and create new memories, memories that will stay with them for a long time. Participants will be immersed in a tactile event, re-discovering forgotten feelings and reconnecting with one of the most profound senses of all. Touch can convey an abundance of information, from size, texture, weight, and form, to harshness, endurance, smoothness, temperature, and environment 4. Most significantly, our sense of touch teaches us about physical pain, extremely crucial in human survival. Be prepared to close your eyes and go back in time. Experiment with the brutalism of concrete, smoothness of the wood, transparency of glass, reflectiveness of mosaics, and pureness of water. Carlo Scarpa’s inspirational materials, such as concrete, wood, glass, mosaic, and water, are just a few of the elements we will delve into. Underestimated by many, a single touch can have a huge impact on our minds and leave a lasting trail of memories 5. Carlo Scarpa’s work is a living testimony to this. Touch, feel, remember: Carlo Scarpa and the Tactility of Architecture; it is an exhibition that has to be seen and lived.
Touch, Feel, Remember: Carlo Scarpa and the Tactility of Architecture is curated by Paula Calixto Egues.
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George Dodds, “Directing Vision in the Landscapes and Gardens of Carlo Scarpa,” Journal of Architectural Education (1984) 57, no. 3 (2004): 30-38, https://doi-org.libraryproxy.griffith.edu. au/10.1162/104648804772745238. Andres Campos, “Carlo Scarpa: Architecture, Abstraction and Museology,” VLC Arquitectura 6, no. 2 (2019): 147-174, https://doi.org/10.4995/vlc.2019.10989. Nandita Baabu, “Architect Carlo Scarpa- 15 Iconic Projects,” Rethinking The Future, Accessed May 1, 2022, https://www.re-thinkingthefuture.com/know-your-architects/a1705-architect-carlo-scarpa-15-iconicprojects/. Fabian Hutmacher and Christof Kuhbandner, “Long-Term Memory for Haptically Explored Objects: Fidelity, Durability, Incidental Encoding, and Cross-Modal Transfer,” Psychological Science 29, no. 12 (December 2018): 2031–38, https://doi.org/10.1177/0956797618803644. Hutmacher, “Long-Term Memory for Haptically Explored Objects,” 2031–38.
M ODEL MA KIN G
To make the models the main material used was plaster. A baking tray served as the base and the openings were done using foam. Additional material was added to certain models.
The plaster was mixed with crushed soft pastels to add a touch of colour.
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Once mixed, the plaster got poured into the baking tray and was left overnight to solidify.
The last touches were made using sanding paper and a few cutting tools.
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M OSAIC Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Rings The symbolism of love and bond by some, eternity by others, or the representation of male and female. Displayed at the entrance of the cemetery, the geometric opening exhibits the balance between outside and inside, allowing the exterior to infiltrate and spread the serenity of nature. The colourful and detailed mosaic around the frames catches the visitors’ eyes and makes you wonder the meaning of it. Harmonious colours calm your senses; the shiny and soft material puts a sparkle to the space.
Image: Vesica piscis. Photo by Mark Larmuseau. Reproduced from Flickr website, https://www.flickr.com/photos/marklarmuseau/13042455304/in/photostream/
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Paula Calixto Egues (b. 1987) Brion-Vega Cemetery 1978 Architect_Carlo Scarpa (1906 - 1978) The Cemetery Rings Plaster, nail polish, soft pastel and plastic
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BR ASS Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Pulpit Located at the chapel of the cemetery, the pulpit, made of brass, occupies a privileged location in the space. The natural light that enters through the windows and the ceiling lets it shine and reflect. Fine detailing can be found on the bottom corners, a unique craftmanship signature of Scarpa’s work. With its elegant and smooth appearance towards the public, the pulpit is the protagonist of the place.
Image: Brion Cemetery. Photo by Bruce Coleman. Reproduced from Flickr website, https://www.flickr.com/photos/32215181@N08/7474742996
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Material: Brass
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WOO D Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Chapel Ceiling The majestic ceiling located in the chapel, and just above the altar, is anything but ordinary. The explosion of perfectly coordinated ziggurats and geometric shapes put on a spectacular show but leaves the user unsure of their meaning. A great combination of wood and concrete draws your eyes to the sky, in the middle, a small opening allows you to see the heavens. The warmth presented by the wooden relaxes your mind taking you to discover the light.
Image: The Brion Cemetery. Photo by Federico Covre. Reproduced from Senses Atlas website, https://www.sensesatlas.com/territory/the-brion-cemetery-carlo-scarpa/
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Paula Calixto Egues (b. 1987) Brion-Vega Cemetery 1978 Architect_Carlo Scarpa (1906 - 1978) The Chapel Ceiling Plaster, soft pastel and plywood
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R ICE PAPE R Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Chapel Doors Located at the entrance of the chapel, the door is made of bronze and shoji paper. This is a great example of how Japanese architecture heavily influenced Scarpa’s designs. The white translucent surface allows for a brighter interior, gently diffusing light even when the doors are closed and adding a delicate touch to the overall appearance. The bronze frame provides a hard structure resistant to corrosion. The inviting door, white and golden in colour, is an extraordinary addition to the chapel.
Image: The Brion Cemetery. Photo by Federico Covre. Reproduced from Senses Atlas website, https://www.sensesatlas.com/territory/the-brion-cemetery-carlo-scarpa/
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Material: Rice Paper
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CONCR ETE Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Cemetery walls Concrete, in its raw and pure form. Scarpa’s work highlights the brutality and strength of this material, refusing to hide it behind plaster and diminish it. On its surface, several ziggurat forms are dancing in great coordination throughout the entire cemetery, in this regard Scarpa did not leave a single wall without ornaments. The whole place is a wonderful narrative from start to finish. It is a rough composition, but at the same time delicate in its manner.
Image: Carlo Scarpa. Photo by Stoffa. Reproduced from Stoffa website, https://stoffa. co/blogs/la-stoffa/carlo-scarpa
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Paula Calixto Egues (b. 1987) Brion-Vega Cemetery 1978 Architect_Carlo Scarpa (1906 - 1978) The Cemetery Walls Plaster and soft pastel
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V EGETATI O N Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Cemetery Gardens The cemetery is surrounded by gardens and even some walls are covered by them. Vegetation was an important element in Scarpa’s designs. In this case, the cemetery is above all a garden for the dead. The addition of greenery creates a splash of colour and life to his masterpiece. The visitors can rest on the garden bed, to then enter the building with a sense of calm and a breath of fresh air.
Image: Brion Cemetery& Sanctuary. Photo by Trevor Patt. Reproduced from Archeyes website, https://archeyes.com/brion-cemetery-sanctuary-carlo-scarpa/
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Material: Vegetation
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G LASS Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Cemetery Windows Majestic in size and shape, the rectangular windows rise to the skies. Layers of geometry carefully placed to form focal points in the interior, ziggurat signature of Scarpa’s work. Glass allows light to intrude the area, bright rays of sunshine create a warm space. Perfect accord is defined between the raw concrete and transparency of glass. Glimpses of nature are portrait on the walls, framing the views to a peaceful outdoor.
Image: The Brion Cemetery. Photo by Federico Covre. Reproduced from Senses Atlas website, https://www.sensesatlas.com/territory/the-brion-cemetery-carlo-scarpa/
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Paula Calixto Egues (b. 1987) Brion-Vega Cemetery 1978 Architect_Carlo Scarpa (1906 - 1978) The Cemetery Windows Plaster and soft pastel
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WATER Carlo Scarpa (1906 - 1978) Brion-Vega Cemetery 1978 The Cemetery Pools Present in almost every corner in the cemetery, water is used by Scarpa as a fundamental architectural element. Some might even say that it is the primary material used in this project, and concrete secondary. Inspired by Japanese designs, water takes the form of pools and channels in the perimeter, creating a meditative space and giving the illusion that the buildings are floating. Water, the essence of living, celebrates life in the BrionVega cemetery and reminds the architect of his beautiful hometown, Venice.
Image: Brion Cemetery& Sanctuary. Photo by Trevor Patt. Reproduced from Archeyes website, https://archeyes.com/brion-cemetery-sanctuary-carlo-scarpa/
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Material: Water
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INTERPRE TAT IV E WORKS
CONCRETE One of the main materials used by Carlo Scarpa. Some might think that the brutalist look of raw concrete can create a harsh experience, and many might have felt the roughness of it while growing up. Nevertheless, just like Scarpa, I wanted to display its beauty and its great mouldability, a material that allows for craftmanship and extreme detail on its surface. The openings created can be infinite and a splash of colour can ease the mind, producing wonderful experiences for humankind. This component can also be combined with other materials, adding an extra layer of texture to our tactile sense.
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Paula Calixto Egues (b. 1987) The Concrete Texture Walls Plaster, soft pastel and glitter
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MOSAIC Shiny and sparkling in our lives, mosaic was a material extensively used by Scarpa. Its splendour lies in the exuberant number of colours available and the limitless mixture of them. Scarpa used this material on the walls as a canvas, displaying wonderful artistic pieces in his designs. My intention is to showcase its irresistible surface, drawing the user to touch it and encounter an experience. The smoothness of it is remembered, and the vivid colour brings it to life.
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Paula Calixto Egues (b. 1987) The Mosaic Fragments Plaster, soft pastel and mosaic
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WOOD It is irresistible not to pick and highlight wood. It is all around us and its presence brings calm and warmth. Scarpa’s legacy is a living testament to the power of wood and the grandiosity forms it can be shaped. From rough raw textures to smooth finishes, wood is a fantastic material to provide a variety of experiences. Its natural state offers pleasant sensations to the public and reinforces our roots on Earth. The details on it can leave powerful messages and a single touch can take you back to childhood times.
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Paula Calixto Egues (b. 1987) The Wood Windows Plaster, soft pastel and wood
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METAL Also used in Scarpa’s designs, metal brings strength and reflectiveness to the room. Its shiny surface presents a unique effect, it performs a light event from sunrise to sunset. The soft and cold texture is stored in our brains, wanting a bit more when the heat is invading the space. Wonderfully crafted at the pulpit in the form of brass, metal can be experienced differently depending on the type. From copper to tin and bronze to zinc, there is an option for all depending on the story to tell.
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Paula Calixto Egues (b. 1987) The Metal Shield Plaster, soft pastel and metal
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M YSTERY B OX ES
The exhibition will present four mystery boxes with hidden materials inside. The public will be invited to touch, feel and guess what is inside.
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MOSAIC
BAMBOO PLYWOOD
STONES
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E X HIB IT ION Brought to you by Paula Calixto Egues