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.
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?
ReplyDeleteWhen 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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