Carlo Scarpa / Museum of Castelvecchio

MUSEO di C

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CASTELVECCHIO S

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T A S O S T H E O D O R A K A K I S I S N : 1 5 11 3 8 0 2

UNIVERSIT Y COLLEGE OF LONDON BARTLETT SCHOOL OF ARCHITECTURE

BENVGHE1

ISSUIES IN HISTORIC URBAN ENVIRONMENTS T U TO R : E VA B R A N S C O M E

10 JANUARY 2017

MUSEO di

CASTELVECCHIO

C A R L O

S C A R P A

T A S O S T H E O D O R A K A K I S I S N : 1 5 11 3 8 0 2

Fig. 01: Carslo Scarpa in detail

CARLO SCARPA

I MUSEO di CASTELVECCHIO

INTRODUCTION The current paper attends to examine the relationship between old and new and how architecture can become a tool of highlighting this relationship. The study takes place in the Museo di Castelvecchio in Verona, a project held by architect Carlo Scarpa. I first visited the museum when I was in first year of architecture and was impressed that I was witnessing a continuous dialogue between the new layer of the architect and the old building. It felt as being in a place where past had a special meaning and was constantly revealing its different aspects. At the end, the feeling was very strange. Had I been in a place of the past? Or was I traveling in a place that was something in between, learning from the past and therefore shaping the present? This invisible power of the place, and the special relationship made me want to examine carefully the museum and how the approach of C. Scarpa transforms the past into an object of importance and a source of knowledge via interpretation.

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TASOS THEODORAKAKIS I BENVGHE1: ISSIUES IN HISTORIC URBAN ENVIRONMENTS

Fig. 02: Carslo Scarpa while studying Frank Lloyd Wright’s drawings.

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CARLO SCARPA

I MUSEO di CASTELVECCHIO

CARLO SCARPA Carlo Scarpa was born in Venice in 1906 where he spent most of his life. The majority of his work is located in North Italy. Though, a revolutionary architect of the postwar period of 20C, his popularity grew after his death in 1978 at the age of 72. Manfredo Tafuri describes Scarpa’s work as a “perverse dialectic between the celebration of the form and the scattering of its parts”.1 Scarpa is well known mainly for his conversions of old buildings into ones of new usage usually by inserting a new layer of architecture into the historic fabric while at the same time maintaining it and transforming it as part of a new unity.2 His work is characterized with a high level of architecture detail with wich he was obsessed with and as Philip Johnson described, he could “make poetry out of the smallest rod of piece of stone.”3 Scarpa’s architectural influence is addressed as “a cross section of the 20th century architectural trends.”4 The movement of De Stijl affected him greatly in working with stratification and overlapping design systems. He was also deeply influenced by the Japanese aesthetics, the Vienna school, Byzantine and Islamic architecture. He was, he often said, ‘‘a Byzantine at heart, a European sailing towards the Orient.’’5 Many architects defined his personal style, such as Frank Lloyd Wright, Charles Renie Machintosh, Arti Hoffman, as well as artists: Vasily Kadinski,Paul Klee and Piet Modrian. Similarities between the architect and the previous may be easily observed in Scarpa’s works.

1 2 3 4

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Rab, S. 1998. pg443 Hass, N. 08 March 2016.

Hass, N. 08 March 2016.

Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print.

Hass, N. 08 March 2016.

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Fig. 03: Carslo Scarpa’s drawing of statue of Cangrande 8

CARLO SCARPA

I MUSEO di CASTELVECCHIO

Scarpa’s practice reveilles stages of developing his style and work. Innitialy he attended the Academy of Fine Arts in Venice, focusing on Architecture. He then began in 1925 working in the Cappellin’s glassmaking company in Murano. His interaction with craftsmen made him obtain a deeper understanding of the nature of materials, how they work and relate to each other. His knowledge and experience of exhibition spaces comes from working for Venini for whom he served as an art director for fifteen years (1933 - 1948).

All of these factors lead to Scarpa’s unique architecture of Layering. As Anne-Catrin Schultz quotes: “Layering is part of our day-to-day perception, based on the simultaneous existence of objects of different age and provenance. Added to this, there are traditions, connection, and memories that give our daily existence an historic dimension.” 6Scarpa involves all of those meanings in his architecture and even in his way of work. His drawings are a complex unity of current thoughts and past ideas on multiple tracing papers.

He creates a combination of sections, plans, detail drawings that at the end reflect a single concept he has in mind. What Anne-Catrin Schultz addresses as Spatial Stratification is Scarpas spacial thinking; a precise process in which he clearly separates things based on their chronological or material properties, thus revealing them and then invents relationships based on antithesis.7 Relationships in which layers of both time and material interact and express a dynamic dialogue. An ongoing process, in which layers of history interact with each other, revealing their meaning, and at the same time are becoming a part of the present.

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Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p7.

Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p16.

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Fig. 04: Castelvecchio: Caserma and the courtyard.

Fig. 05: Sculpture of Jesus Crist in the statue gallery.

Fig. 05: Sculpture of Jesus Crist / Detail.

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Fig. 07: Castelvecchio: aerial view.

CARLO SCARPA

I MUSEO di CASTELVECCHIO

CASTELVECCHIO, VERONA At the age of 52 (1958) Scarpa was confronted with the restoration of the Museo di Castelvecchio in Verona. This was a 14th century fortress in the west side of the city in front of the Adige river. The complex had overgone series of rehabilitations over the years; initially as a medieval castle, then, mainly used for military purposes between the 18th and 19th centuries and as a museum in the biggening of the 20th century. Samia Rab distinguishes four major periods of construction of the Castelvecchio.8 The first construction trace included the Commune wall as part of a greater city wall for the established Republic of Verona bult in the 12th Century. In 1354 the site was converted by the Scaligary Family (Lords of Verona) to what is known as Castelvecchio; a medieval fort on the two sides of the Commune wall which now served as a barrier of the family. So the Commune wall which previously had been facing outwards, was now facing inwards and against the citizens. The castle had two compounds in each side of the Commune wall, with an inner courtyard on the east side, called the Reggia (Palace) and one with an outer courtyard towards the city serving military functions, open towards the river. Another element of the Reggia was the Torre Del Mastio, the highest of the watch towers and the Porta del Morbio, witch was a private entrance, leading to a bridge for the family that crossed the river. The next occupants were the Napoleon Troops in 1797 that constructed their barracks in an L-shape building of the Caserma, the so called Napoleon Wing. A grand military staircase against the Communy Wall was also added for fighting against the Austrians.In 1799 the French demolished five medieval towers as a penalty of the citizen’s uprising. The last phase was the conversion of the complex

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Rab, S. 1998. pg444 15

ADIGE RIVER

CITY OF VERONA

CASTELVECCHIO

Fig. 08: City of Verona

Roman Fortification

old city of Verona

COMMUNE WALL

Fig. 09: City of Verona / Wall traces

TASOS THEODORAKAKIS I BENVGHE1: ISSIUES IN HISTORIC URBAN ENVIRONMENTS 1 2 3 4 5

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Regia Torre del Mastio Caserma (Galleria) Sala Avena Sala Bogia.

Fig. 10: Locations of Layering applied to Castelvecchio.

Transition Caserma Regia.

CARLO SCARPA

I MUSEO di CASTELVECCHIO

into a museum in 1923-6 by Antonio Avena as part of its rehabilitation.9 This included erasing some of the Napoleonic traces. However, Avena with his architect Foriati rebuilded the medieval towers and barracks in a false imitative way as regarded by Samia Rab and at the same time they “did glorify the Gothic period far more that either the Roman or Renaissance periods”.10 In 1957 Licisco Magagnato, the new director appointed Scarpa as the new architect for the museum. Though the initial idea was to make a general rearrangement of the exhibition rooms Scarpa himself was very anxious in reveling the building’s historical layers, but at the same time keeping the structure’s original integrity.11 He first had to make a series of value judgments on what to keep and what to erase of the founding12 so as to establish an “Authentic Historic Experience”.13 This, he said, would lead to the education of the visitors. In that manner, Scarpa’s first act was to demolish the staircase of the Napoleon rule. During the demolishion, he excavated the ancient moat found underneath. In addition, he introduced a new circulation for the museum, with the entrance in the great courtyard, and a two leveled gallery in both the Caserma section and the Regia. As part of the visitors movement (“percorso”)14 he adds a bridge across the ancient moat linking the the two complexes through the Torri del Mastio. For the new gallery he adds new floor, new ceilings, windows screens and doors. Scarpa also introduces the exhibits of the museum as will be studied later. The most significant exhibit of the museum is the statue of Cangrande which he critically places over the moat during the renovation (1958-64).

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Rab, S. 1998. pg445 Rab, S. 1998. pg445 Hass, N. 08 March 2016.

Sheffield School of Architecture. 31 March 2014.

Rab, S. 1998. pg443 Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p80.

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Fig. 11: Study of ground-floor plan of Napoleonic wing and garden Third and final solution

CARLO SCARPA

I MUSEO di CASTELVECCHIO

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Fig. 12: Plan of the museum

CARLO SCARPA

I MUSEO di CASTELVECCHIO

C.SPATIAL ANALYSIS At this point we will examine Scarpa’s intervention in three parts. It is important to have in mind Scarpa’s main principals and his idea for the new museum as described above. Initially focusing on the new organisation of the museum and the interventions in a macro scale for the Castelvecchio we will then examine the interior of the gallery and finally focus on the Cangrande statue as the most dramatic point of the “percorso”.

Scarpa had to prioritize between the four historic traces of the complex (Commune of Verona, Scaligary family, Napoleon troops, Fascists) and establish a new didactic stratification. Having demolished the Napoleon staircase, he uses negative space to visualize and separate the individual buildings15 and depicts the L-shape Napoleonic Wing which would accomodate the gallery.

He, later, also uses a vertical separation on the wing to distinguish the northeast tower providing light to the Avena room and the library.16 The facade of the wing had previously been recreated with false imitation of Gothic period windows. For that he suggests an arrangement in which the wall is separated from its symmetrical nature and places a thin layer of glass in front of the existing Gothic openings. Scarpa treats the facade of Caserma according to Richard Murphy as a solid facade which “at the edge reveals a series of surfaces or layers”.17 On the other hand he configures a new entrance for the gallery. Instead of approaching the Caserma from its middle opening, Scarpa introduces different treatments on the facade’s openings to distinguish them from each other.18

15 16 17 18

Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p79.

Beltramini, G. Zannier, I. Scarpa, C. 2006 Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p81.

Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p80.

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Fig. 13: Elevation of the Caserma / first study

Fig. 14: Elevation of the Caserma / final study

Fig. 15: Entrance to the museum

CARLO SCARPA

I MUSEO di CASTELVECCHIO

The courtyard itself has a central garden, with two fountains witch he re-articulates and flowers zones opposite to the facade, guiding the visitor to the northeast opening where the new entrance is established. He also designs a new roof consciously leaving a gap with the wall in order to emphasize his previous intention. The interior of the Caserma wing had five similar square rooms. The new gallery itself would have two storeys. For that, Scarpa inserts a new floor and ceilings which is structural supported with a H metal beam that travels through the whole wing’s length. The floor itself is also a very important layer for Scarpa. Rendering it as a floating platform, inscribed by a irregularly spaced grid and in offset with the surrounding walls, Scarpa implies what is characterized as “a common and internationally added base that places statues and visitors within a single frame of co-ordinate reference”.

The floor above is set to a certain height, turning previous doors to high windows and previous windows to sources of light.19

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Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p80.

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Fig. 16: Gothic windows in Caserma 28

Fig. 17: Plan of the entrance to the Caserma

Fig. 18: Caserma diagram, floor-plan confihurations.

1 window layers added to interior. 2 Sacello volume added to exterior. 3 wall directing entry and exit circulation.

4 stone carpet added at the central space. 5 facade inset from building edge.

Fig. 19: Caserma diagram, ground floor.

CARLO SCARPA

I MUSEO di CASTELVECCHIO

The exhibition accommodates sculptures and paintings from the early Christian and Romanesque periods found in the Basilicas of Verona. In each of the two storeys the space was of five similar square-shape rooms “axially connected into a single linear sequence”, as proposed by Scarpa.20 The idea behind the orientation of the exhibits as analyzed by Gianna Stavroulaki and John Peponis can only be discovered through movement!21 In the statue section, Scarpa places them non frontally to the visitor so as to encourage movement around them resulting the discovery of their geometric properties and proportions. At the same time he offers a total view of all the statues in certain rooms as a starting point of movement. What he also uses is the gaze of the statues where one’s is oriented towards the other, thus creating relations encouraging further navigation. In some cases more than one of the statues gazes intersect at a point that is not noticable otherwise. The gaze here, is a device that generates movement whereas the exhibit itself is the absolute protagonist.22 In the gallery Scarpa suggests a pedagogic device for understanding and solving problems of visual perception and spatial arrangement, while movement itself reveals hidden spatial relationships.23 In the paintings section, Scarpa uses the floor and the walls configuring two axes of movement; one facing towards the Adige the other towards the courtyard. Similarly to the Sculpture galleries, Scarpa places paintings on easels, close to the edge of the free-standing walls, in different sizes and scales, so as to encourage navigation and different distances from the wall via movement. Paintings placed on the edge of the freestanding walls are initially observed when entering the section and then observed again down to their very detail thus recalling a previous experience. Scarpa treats the space as a stage and the view to the peripheral walls as one of constant change.24 20 21 22 23 24

Stavroulaki, G. Peponis, J. 17-19 June Stavroulaki, G. Peponis, J. 17-19 June Lanzarini, O. 15 January 2016. pg8 Stavroulaki, G. Peponis, J. 17-19 June Stavroulaki, G. Peponis, J. 17-19 June

2003 pg.3 2003 2003 pg.5 2003 pg.6 31

Figure 3: Statues facing other sta

Figure 4: Intersections between the g

statues in the sculpture galleries

Fig. 20: Intersections between the gazes of statues in the sculpture galleries

e gazes of statues in the sculpture galleries

Fig. 21: Caserma, plan diagramms

Fig. 22: Sculpture gallery

Fig. 23: Framing a sculpture

Fig. 24: Sculpture gallery

TASOS THEODORAKAKIS I BENVGHE1: ISSIUES IN HISTORIC URBAN ENVIRONMENTS

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Fig. 25: Statue of Cangrande

CARLO SCARPA

I MUSEO di CASTELVECCHIO

Finaly, the most dramatic point of the exhibition and the complex is the meeting point of the Caserma with the Communy wall and the Reggia. To establish a new hierarchy of the historic layers, Scarpa clearly erases the Napoleonic trace, so as to reveal and emphasize the Communy wall and the Roman foundations (moat) which is the period he decides to glorify. In addition, he is striked by the idea of placing the fourteenth century statue (Cangrande) of the Lord of Verona as the greatest symbol of the city. As Samia Rab writes: “To him, these elements represent a time during which Verona offered its inhabitants a measure of individual freedom.” In the 14th century the statue was on top of the spire of S. Maria Antica and was first placed in the entrance of Castelvecchio during Avena’s conversion of the fortress into a museum. According to Samia Rab, when Scarpa critically placed the statue in its final position he wanted to accomodate it in a semi-outdoor environment, provide multiple viewing points, isolate it from any other exhibits and most importantly to glorify the era the statue represented.25 The Cangrande statue is at the point where all the historic layers of the complex meet and is the way Scarpa established a new polyphony that the visitor confronts while moving from the Caserma towards the Reggia through the Communi wall and over the Roman foundation.

While changing position, height and distance towards the statue, the visitor is provided with multiple viewings of the Cangrande. Gianna Stavroulaki and John Peponis describe this experience as follows:

“Just before entering the first room of the paintings gallery, it is possible to look across towards the statue. This is a rare moment when the visitor is level with the riding knight and the only moment when the face of the knight is frontally seen, clearly smiling.”26

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Rab, S. 1998. pg446 Stavroulaki, G. Peponis, J. 17-19 June 2003 pg.13 39

Fig. 26: Floor plan Cangrande space, upper floor, circulation and floor pattern.

Fig. 27: Floor plan Cangrande space, upper floor, areas defined by floor pattern.

Fig. 28: Statue of Cangrannde as seen from gallery

Fig. 29: Statue of Cangrande space, curculation.

Fig. 30: Positioning of Cangrande statue. Until 1958 it was placed between watchtower and palace

Fig. 31/32: Views of the statue of Cangrande.

Fig. 33-37: Views of the statue of Cangrande.

CARLO SCARPA

I MUSEO di CASTELVECCHIO

D.CONCLUSION

While studying the Castelvecchio, it reminded me of the palimpsest, a notion in architecture I had previously researched; a piece of parchment which holds multiple writings on it and thus is a document that reflects the history of the acts that took place. Applying that to the complex, Castelvecchio is a result of multiple writings where all the occupants have left their marks, either by rewriting, erasing or adding to the previous. Scarpa had to deal with this palimpsest, to reveal its historic stratification and apply a new hierarchy. However, Scarpa’s practice reminded me of “Kintsugi”, an ancient Japannese technique of repairing pottery with a gold glue that becomes a part of its new identity. In that sence, Scarpa reveals the fort’s transitions and moments of change and tries to glorify them. For him, the historical traces and their relations have the power to reveal history. Overall Scarpa’s intervention suggests nothing more than a root and a stage for the visitor. One he accurately controls as it suggests a pedagogical tool. Through this root, he entangles relations between the historical layers of the complex for the visitor to observe. Having understood Castelvechio’s background, the visitor is able to read and understand the objects- exhibits in the gallery where the surrounding walls act as a background. As he navigates himself through the buildings he is confronted by the Cangrande statue which for Scarpa, seems to be an exhibit tha should provide more that one single experience. At this point Scarpa’s manipulation of one’s movement reaches its extreme.

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Fig. 38: Layers of old and new in Castelvecchio

CARLO SCARPA

I MUSEO di CASTELVECCHIO

Overall, Scarpa intervention is based on relations that he himself invents for the layers he selects. He states: “to allow it (the old fragment) to maintain its own identity, its own history… (In this way), you increase the tension between the new and the old.”27. Manipulating layers of different scales and properties, he critically selects what to erase and what to retain, which leads to his selective demolition, followed by his creative addition.28 By extending those layers life to present, Scarpa achieves not only to save traces of a wall, a political figure or an event but to immortalize all the significance and memory those traces hold keeping them active and important for the present.

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Rab, S. 1998. pg448 Rab, S. 1998. pg450 49

E. BIBLIOGRAPHY SOURCES Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Beltramini, G. Zannier, I. Scarpa, C. 2006. Carlo Scarpa : architecture atlas. Milan : Marsilio.

Rab, S. 1998. Carlo Scarpa’s Re-Design of Castelvecchio in Verona, Italy. In: C. Barton, ed. Proceedings of the 86th ACSA Annual Meeting and Technology Conference: Constructing Identity “Souped-up” and “Un-plugged”. Washington: Association of Collegiate Schools of Architecture, pp. 443-451.

Peponis, J. Stavroulaki, G. 17-19 June 2003. The spatial construction of seeing at Castelvecchio/4th International Space Syntax Symposium. [online]. Available from: http://www.spacesyntax.net/symposia/4th-international-space-syntax-symposium/ [Accessed 06 January 2017].

Lanzarini, O. 15 January 2016. Scarpa: ‘If art is education, the museum must be the school’. [online]. Available from: https://www.architectural-review.com/ rethink/scarpa-if-art-is-education-the-museum-must-be-the-school/10001576.article [Accessed 06 January 2017].

Hass, N. 08 March 2016. Italy’s Lost Modernist Master. [online]. Available from: http://www.nytimes.com/2016/03/20/t-magazine/design/carlo-scarpa-italys-modernist-architect.html [Accessed 06 January 2017].

Sheffield School of Architecture. 31 March 2014. Richard Murphy lecture about the work of Carlo Scarpa. [Online Video]. Available from: https://www.youtube. com/watch?v=v_78_KQZiP8&t=3326s [Accessed: 9 January 2017].

GENERAL READING Efendiu, A. 10 Feb. 2012. Carlo Scarpa - A Profile (documentary) Web. 1 Nov. 2016. [Online Video]. Available from: https://www.youtube.com/watch?v=9KxXgkEWK1U [Accessed: 9 January 2017].

Baxandall, M. 1985. Painting and Experience in Fifteenth Century. Italy, New York, Oxford: University Press Yates, F. 2014. The art of memory. London : Bodley Head.

Tanizaki J. 1977 In praise of shadows. Sedgwick : Leete’s Island Books.

Atlas of Interior. 19 March 2014. Albini, Marcenaro, Palazzo Bianco, Genoa, Italy, 1952. [Online] Available from: http://atlasofinteriors.polimi-cooperation. org/2014/03/19/albini-marcenaro-palazzo-bianco/ [Accessed: 9 January 2017].

Onniboni, L. 21 May 2014. Castelvecchio Museum – A masterpiece by Carlo Scarpa. [Online] Available from: http://archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/[Accessed: 9 January 2017].

Gouwetor, F. J. 2011. Scarpa, Japan and other Stimuli. Thesis (MA) Architecture and Urbanism, Facultty of Architecture, TU Delft.

F. IMAGERY

Cover Picture. Hammacher, A. 1981-82. Museo di Castelvecchio a Verona [Photograph]. viewed January 2017, http://digilander.libero.it/loredanatorraco/commenti.htm Fig. 01 Fideliohaus. 2014. Carlo Scarpa | Brion Cemetery | Door Detail. [Photograph]. viewed January 2017, http://arqvac.tumblr.com/post/71235570668/ carlo-scarpa-brion-cemetery-door-detail Fig. 02 De Biasi, M. March 1954. Carlo Scarpa studying drawings by Frank Lloyd Wright in 1954. [image] Available at: http://www.archdaily.com/638534/spotlight-carlo-scarpa [Accessed 07 November 2016].

Fig. 03 Scarpa, C. 1958-1964. Drawing of the ground plan of area with Cangrande statue, palimpsest-like sketches illustrating the thought process [Drawing].

In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 04 P. M. Perimetric walkway in Napoleonic wing. [Photograph]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 05 Lanzarini O. Index jpg. [Photograph]. viewed January 2017, https://www. architectural-review.com/rethink/scarpa-if-art-is-education-the-museum-must-be-theschool/10001576.article Fig. 06 Lanzarini O. Scarpa’s detail of the display at Museo Civico di Castelvecchio [Photograph]. viewed January 2017, https://www.architectural-review.com/ rethink/scarpa-if-art-is-education-the-museum-must-be-the-school/10001576.article

Fig. 07 Veduta prima della distruzione. [Photograph]. viewed January 2017, http://www.argentoeno.it/cle/acqua/cecchini.htm Fig. 08 City of Verona. Based on image from google earth. [online]. Available from: https://www.google.com/earth/ [Accessed 07 January 2017].

Fig. 09 City of Verona / Wall traces. Based on image from google earth. [online].

Available from: https://www.google.com/earth/ [Accessed 07 January 2017].

Fig. 10 Schultz, A. C. 2007. Locations of Layering applied to Castelvecchio. Transition Caserma Regia. Key: 1 Regia 2 Torre del Mastio, 3 Caserma (Galleria), 4 Sala Avena, 5 Sala Bogia. [Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 11 A.M.C. Study of ground-floor plan of Napoleonic wing and garden. Third and final solution. Pencil and pastel in heliocopy. [Photograph]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 12 A.M.C. Plan of the museum. [Drawing]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 13 A.M.C. Study of front elevation of gallery wing, with first proposal for position of Cangrande and construction of lowered arch. Pencil and pastel in heliocopy. [Photograph]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 14 A.M.C. Study of front elevation, with second proposal for position of Cangrande. Pencil and pastel in heliocopy. [Photograph]. In: Antonietta, M. C. c1986.

Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

F. IMAGERY

Fig. 15 Onniboni, L. 12 May 2014. IMG_4543_edited. [Photograph]. viewed January 2017, http://archiobjects.org/wp-content/uploads/2014/05/Museo-civico-castelvecchio-886x590.jpg Fig. 16 Smaga, A. 26 May 2013. Museo Castelvecchio, Verona. Architect Carlo Scarpa. [Photograph]. viewed January 2017, https://commons.wikimedia.org/ wiki/File:Museo_Castelvecchio,_Verona._Windows..JPG Fig. 17 Schultz, A. C. 2007. Floor plan entry area in courtyard, circulation. [Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 18 Schultz, A. C. 2007. Caserma ground-floor plan, detail, paving pattern.

[Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 19 Schultz, A. C. 2007. Caserma diagram, ground floor. Key: 1 window layers added to interior, 2 Sacello volume added to exterior, 3 wall directing entry and exit circulation, 4 stone carpet added at the central space, facade inset from building edge. [Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 20 Peponis, J. Stavroulaki, G. 17-19 June 2003. Intersections between the gazes of statues in the sculpture galleries. [Drawing]. In: Peponis, J. Stavroulaki, G. 17-19 June 2003. The spatial construction of seeing at Castelvecchio/4th International Space Syntax Symposium. [online]. Available from: http://www. spacesyntax.net/symposia/4th-international-space-syntax-symposium/ [Accessed 06 January 2017].

Fig. 21 Schultz, A. C. 2007. Caserma diagram, floor-plan confihurations. [Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 22 Lanzarini O. Museo Civico di Castelvecchio. [Photograph]. viewed January 2017, https://www.architectural-review.com/rethink/scarpa-if-art-is-educationthe-museum-must-be-the-school/10001576.article Fig. 23 Lanzarini O. Scarpa’s use of colour plinths and light at Museo Civico di Castelvecchio. [Photograph]. viewed January 2017, https://www.architectural-review. com/rethink/scarpa-if-art-is-education-the-museum-must-be-the-school/10001576. article Fig. 24 keitaebidzuka. 2012. Museo di Castelvecchio. [Photograph]. viewed January 2017, http://kureator.tumblr.com/post/36882122604/keitaebidzuka-museo-di-castelvecchio Fig. 25 A road less traveled‌ 13 May 2013. verona_32/Castelvecchio Museum. [Photograph]. viewed January 2017, https://paigetaff.wordpress. com/2013/04/20/verona/olympus-digital-camera-312/ Fig. 26 Schultz, A. C. 2007. Floor plan Cangrande space, upper floor, circulation and floor pattern. [Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers. Stuttgart ; London : Axel Menges.

Fig. 27 Schultz, A. C. 2007. Floor plan Cangrande space, upper floor, areas defined by floor pattern. [Drawing]. In: Schultz, A. C. 2007. Carlo Scarpa: Layers.

Stuttgart ; London : Axel Menges.

F. IMAGERY

Fig. 28 P. M. Cangrande della Scala seen from interior of ground-floor gallery.

[Photograph]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 29 A road less traveled‌ 13 May 2013. verona_29/Castelvecchio Museum. [Photograph]. viewed January 2017, https://paigetaff.wordpress. com/2013/04/20/verona/olympus-digital-camera-312/ Fig. 30 P. M. Positioning of Cangrande statue. Until 1958 it was placed between watchtower and palace. [Photograph]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 31-37 P. M. Views of the statue of Cangrande. [Photograph]. In: Antonietta, M. C. c1986. Carlo Scarpa : theory, design, projects. Cambridge, Mass. : MIT Press.

Fig. 38 Onniboni, L. 12 May 2014. IMG_4550_edited. [Photograph]. viewed January 2017, http://archiobjects.org/wp-content/uploads/2014/05/Museo-civico-castelvecchio-886x590.jpg