Carlo Scarpa - the OG Critical Regionalist?



Was Carlo Scarpa an original Critical Regionalist?

Scarpa's Ca' Foscari


Scarpa's Tomba Brion

During class on Tuesday I found myself wondering if his specific brand of architecture, which incorporates modernism with Scarpa’s intrinsic Veneto-ness, would be what we would today quantify as “critical regionalism.” Even though most of his works were completed in the decades (1950s-70s) preceding the birth of critical regionalism as a mode of thought, I would say that his work definitely falls within this category. Scarpa, who lived his whole life in the Veneto region of Italy, also only created architecture in this specific region. He incorporated architectural elements of the region, his own native history with stone-cutting and masonry, and other “materials” of the region (especially light and water, due to its proximity to the Adriatic Sea) into every design he created. In comparison to his Modern peers of the era, in my opinion his works have stood the test of time and retain their original brilliance while the others have aged poorly and suffered from issues that plague Modernists the world over. There is something, an almost indefinable quality, about Scarpa’s work that feels intensely rooted to its place.

Comments

  1. This is an interesting observation that relates back to our discussion of Aalto's brick buildings in class. Working only in a specific region allows Scarpa to become a master of the region's topography, climate, culture, etc. I wonder, if he had built elsewhere (like the US), if his designs would feel awkward in the location?

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  2. When talking about the visual vs the tactile in class I thought of Scarpa. His work is arguably the most tactile of any architect ever.

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