Scarpas and the Relationship between the Body and Architecture - Essay Example

?INTERIOR ARCHITECTURE: DETAIL AND THE USER CARLO SCARPA Introduction Carlo Scarpa (1906-1978), was an Italian architect known for his use of the relationship between the body and architecture in his work, emphasis on natural light, and for his phenomenon of layering. His conceptualization of architecture included the user as an essential component to the design and construction of buildings. Scarpo had never graduated from architecture university, but had worked as a designer and craftsman in Murano glass factories in Venice; thus he was also a reputed glass and furniture designer. The large number of Scarpa’s architectural projects reflect his unique concepts and ideas of design (Scarpa, Beltramini, Battistella et al, 2007). Thesis Statement: The purpose of this paper is to investigate Carlo Scarpa’s use of the relationship between the body and architecture, and examine the roots of his conception of the elements of architectural construction as “beings”. Further, Scarpa’s imaging the user, with architectural details in relation to the user’s body, and his layering of memories based on the affinity between architecture and place, will be discussed. Relationship Between the Body and Architecture In European culture, there has always been a significant place for the relationship between the body and architecture, and the complex phenomenon of corporeality. This tradition originated from Marcus Vitruvius, the ancient Roman architect and engineer in the first century B.C., who compares the human body directly to the body of a building, and reinforces the analogy, so that the importance of symmetry, proportion and harmony in architecture become secondary to his theory of the link between corporeality and architecture. According to Dodds, Tavernor and Rykwert (2002: 28) “although this highly provocative subject has been treated with great attention and subtlety by critics, it remains nonetheless poorly understood”. The most significant aspect of the role of the body in understanding reality is the relation between the body and that which factually exists. For example, a rough stone wall is perceived as hard and coarse-surfaced in texture, in relation to the corporeal nature of the body with its opposite qualities of softness and pliancy. Thus, the body was used not only to designate conceptual, but also material reality. Plato followed by Aristotle undertook to find a clear understanding of corporeality. The concept of the body is always open for further improvemen “through the continuous reciprocity of necessity and reason” (Dodds et al 2007: 28). Consequently, the body is perceived as a comparatively stable structure in the context of reality as a whole denoted by the cosmos. There is a surprising richness and depth of understanding of the relation between the human body and the world, the common corporeality and meaning, rendering the body as a microcosm. There is great reciprocity between the human body and the world, and between the human body and architecture. Joints, Frames and Building Construction Mass as “Beings” In the mid-nineteenth century, Gottfried Semper divided built form into two separate material procedures: the tectonics of the frame in which members of different lengths are joined together to encompass a spatial field, and the stereotomics of compressive mass that, “while it may embody space, is constructed through the piling up of identical units” (Frampton 2000: 181). Tectonics relates to the construction of buildings. The work of Carlo Scarpa is a contemporary manifestation of Semper’s approach supporting the concept of framework as aerial and dematerialization of mass, while the mass form is telluric or relating to the earth into which it is embedded deeply. The former tends towards the light, and the latter towards the dark. These gravitational opposites, the immateriality of the frame and the materiality of the mass are considered to symbolise the two cosmological polarities towards which they reach out: the sky and the earth. The experiential limits of our lives continue to be defined by these polarities, in spite of the increasingly secularised and technoscientific times. It would be detrimental to the practice of architecture if these intrinsic transcultural values in all structural form are not recognized. Thus, inanimate objects also have a sense of “being”; and by correlation to our human body or corpus, “the body of a building may be perceived as though it were literally a physique” (Frampton 2000: 181). This underscores Semper’s identification of the joint as the primordial tectonic element, as the core nexus of building construction, and is brought into being and articulated as a presence in itself. The transition from stereotomic base to the tectonic frame forms the essence of architecture. The joints form the main components differentiating one culture of building from the next. “There is a spiritual value residing in the particularities of a given joint” (Frampton 2000: 181), so that the generic joint becomes a point of change in the construction’s “being” rather than a mere connection. This is reflected in Carlo Scarpa’s architecture, in which detail is the adoration of nature. The architectural production of Scarpa depicting the adoration of making joints is evident. In Scarpa’s work the relationship between a whole and its parts, and between craftsmanship and draftsmanship had an important place (Frascari 1987). Thus, steel joined after regular spacing, concrete spilling out of concatenated forms, stone cut in labyrinthine patterns, and other details were part of Carlo Scarpa’s work. The most resistant aspect of architecture is construction, and Scarpa’s project outcomes exemplify these tensions as found in his restoration of buildings. The reconstruction work on Fondazione Querini reflected his use of distinctive materials in his projects. Scarpa, like some other architects such as Frank Lloyd Wright, Mies van der Rohe, and Louis Kahn reconfigured the basic ideas and facts of construction. This was one of the ways in which Scarpa created transformations in a building’s physicality (Cadwell 2007). Imaging the User: The Tactile, Haptic and Cultural Experience of Place The experience of architecture is through the details, which the user perceives as a relationship between the body and particular architectural aspects of the constructed space. In the conceptualization of architecture, imaging the user can be critically important. This is done through envisioning the bodily relationship with particular detail and localized instance. Carlo Scarpa took this approach to an extreme. He did not subscribe to the concept of the Corbusian geometricization of the body, or that architectural form emerged from the plan of the building. Instead, Scarpa’s unique architectural conceptualization emerged from a corporeal imagining of details, which brought into play the user’s tactile and cultural experience of place (Dodds et al 2002). Various architects differed in their method of undertaking reconstruction work at the site of ancient buildings. Rather than recreate a romantic image of the past, Carlo Scarpa preferred to use the remnants from the past as a stimulus to present aesthetic interest. Between late 1950s and early 1960s, Scarpa was presented with a commission to convert an old building into a museum, a new work of architecture. The building whose remains had to be reconstructed, was a fourteenth century castle in the northern Italian city of Verona, known a the Castelvecchio meaning Old Castle (Unwin 1997). Davey (1997) believes that an uncommonly rich and flexible approach is found in the work of Carlo Scarpa, whose restoration of Castelvecchio was underscored by respect for the old, cherishing and frequently emphasizing the enhancement of the original fabric. However, in his own bold interventions, the detailing and materials used were entirely of this century, although the new craftsmanship was unique and as fine as that of the medieval predecessors. This view is supported by Jones (1996) who states that reconstruction projects such as this one demonstrate that it is kinder “to complement an old building with something new and honestly different, rather than attempting an extension within its own vocabulary” (p.54). Though the latter may appear more in sympathy with the old construction, it inevitably results as compromised both by modern requirements and by the use of earlier techniques which are now difficult to master. The revolutionary display approach of Carlo Scarpa is evident on entering Castelvicchio Museum. His experience as a glass craftsman is found to influence his shaping of materials, his light and spatial arrangements, and use of colours like old artisans. The sculptures are placed on platforms (as seen in Fig.1 below), slightly raised above the ground by a support in the centre, resulting in their appearance of floating in space. The gothic sculptures in Castelvecchio rooms are from churches which were destroyed by floods and earthquakes; hence the art works were not out of their original historical and architectural context (Veronissima, 2007). Creating a floating effect with the help of platforms (Fig.1), Scarpa aimed to make the sculptures absolute objects “outside a real space and time, like ghosts in the no-space of a museum” (Veronissima, 2007). The only link to their original setting was the natural light coming from one side of the room, producing the effect of the interior of an old gothic cathedral. Carlo Scarpa avoided the use of artificial lights so that, similar to an old church, the light and shadow effects could change according to different hours of the day. However, in the ground floor rooms, light bulbs placed on tripods are present. Fig. 1. Castelvecchio Art Museum: Interiors by Carlo Scarpa (Veronissima, 2007) In redesigning the Castelvecchio, Scarpa created an architectural experience relating to the present, but which also “exploits accidents and collisions, juxtapositions and relationships, spaces and their character” (Unwin 1997: 49), that draw design elements from the plan that had existed earlier. To the previous arrangements Scarpa added some more elements from his own responsive imagination, as an additional layer (Fig.2 below). This addition belonged to the mid-twentieth century, while the building had been enhanced, augmented and altered several times during its existence, in accordance with the styles of the various periods of history. According to Coombs (1999), Scarpa not only rehabilitated the castle, but also provided an interpretation of its complicated history, which includes a critique of the fascist myth of Italy’s past. Thus, whether the normal trend of prioritizing architectural preservation over consideration of the social or political history of the place, is worthy of debate. Fig.2. Castelvecchio Interior: Staircase by Carlo Scarpa (Architects20thCentury, 2011) The most impressive spot in Scarpa’s Castelvicchio is the “Cangrande space”, (Fig.3 below) named after the equestrian statue which it frames. This place re-modelled with an equestrian statue had not existed in the castle before. Both Scarpa’s appreciation of the historical changes which had taken place in that specific part of the building, and the existing fabric of the old stone walls deeply conditioned the architecture of this area of the building (Unwin, 1997). Fig.3. Cangrande, Castelvecchio (Panoramio, 2011) With respect to architecture as identification of place, “a line of sight establishes contact between places” (Unwin 1997: 103). Architects since ancient times used this technique for integrating places into the world around them. This helped to establish places or points as fragments of matrices centred on particular sites. This is a significant method of designing places for performance, where the engagement between actors and spectators depends on sight. For example, in designing art museums, a line of sight helps in establishing contact between different points; therefore it is used to determine the positioning of exhibits. While remodelling the Castelvecchio in Vicenza, Carlo Scarpa would draw lines of sight on his plans. These lines began from particularly important points in the building such as the entrance or doorway, and aided him to decide on the positions of exhibits or pieces of landscaping. Layers of Memory: The Affinity Between Architecture and Place In Scarpa’s imaging of the user with the tactile, haptic and cultural experience of space, his projects also emphasize the affinity between architecture and place, incorporating memories into building constructions. Architecture, could be considered as a way of fixing memories and communicating them, and is the narrative aspect of the construction. Memory may relate directly to the building’s history, or to a broader complex of interes. Thus, the experience and memory of humankind are laid down in layers in the physical environment, in a concrete and graphic form. Every new part is a development of ancient forms, materials and ways of making. Buildings basically are a “sign of hope, a sign of society’s belief in future, a gesture forward in time” (Birksted 2000: 51). An example of the complex process of aging is Venice, consequently it is a city rich with multiple dimensions of memory. The built history of the city is composed of layers created and sedimented over time. The complex trading history of Venice combines with a geographically extreme marine place, and both these forces are evident in the architecture. The city’s location in a lagoon makes the transportation of new materials prohibitively costly, which promotes the re-use and recycling of existing structures and materials. Recycling intensifies layering of which there are three types: spatial, material and associative layering. Spatial and material layers are physical and material witnesses of the passage of time. Spatial layering in the urban context involves the overlapping of spaces and spatial sequences. Material layering is best exemplified by the representative facades facing the Grand Canal, and has a long tradition in Venetian design. Associative layers refer to a wider content of buildings, associations that evoke memories of other times or places, and allow the concurrent presence of completely different sites and times. In the case of Venice, “memory has the function to connect different periods of time in history as well as the change of the city’s functions and their architectural appearance into one system of buildings, the city fabric” (Birksted 2000: 51). Carlo Scarpa’s phenomenon of layering in his construction designs is inspired by Venice which served him as a reference system and a reservoir of ideas to draw from, and as a model for his layered compositions. The elements of architectural form that Scarpa borrows from Venice are the typical Venetian chimney, local materials like the Istrian sandstone for decorative and stabilising purposes, Venetian light and water both as a material and as a backdrop for details (Fig.4 below). Scarpa builds narrow canals as miniature reminders of the city, and includes historic elements such as Byzantine windows. The architect does not create abstract archetectural models; on the other hand, he “recreates direct and idiosyncratic experiences, existing form, material and atmosphere as a base for his personal design process” (Birksted 2000: 51). Scarpa creates new architecture by integrating individual memories and experiences into his design perspectives, and reinterprets the associations he derives into new architecture (Birksted 2000). Similar to layering, this is a key characteristic of Scarpa’s architecture, seen in his reconstructed works also such as the Fondazione Querini in Venice (Fig.4 below). The illustration depicts the interior architectural details constructed conducively to allowing water and natural light to flow in. Fig.4. Allowing Natural Light and Water to Flow In: Memories and Design (Venice 2010) Where original objects undergo transformation, the function of memory proves to be most interest provoking. In working with existing buildings, Scarpa’s interest was in indicating the changes that those buildings went through during their existence. Thus, the architect brings the passage of time to the forefront of the finished building. Moreover, the addition of memory as an immaterial component to architectural compositions is “Scarpa’s way of touching what might be called the soul of the building, the part that is capable of telling stories about itself and its location” (Birksted 2000: 53). Although architecture invokes memory, the intensity of memory activation is related to the cultural involvement of the observer. When there are no associations to recognize and the layers cannot be decoded, aesthetic values move to the foreground, and perceived beauty can underscore the profoundness of the design. Scarpa rearticulates what he has seen before, and indirect memory integrates the source of inspiration with contemporary techniques of articulation as well as his personal conceptualization, to transform objects to new forms (Fig.5). Fig.5. Fondazione Querini: Split Level Flooring and Display of Exhibits (Venice 2010) Scarpa’s remodelling of the Fondazione Querini can be seen as a scaled down representation of Venice. The first floor is allocated as exhibition space, while the upper floors house a library, office and storage space. Periodic Venetian floods would enter the building, since it is located on a canal. Instead of implementing measures to prevent the water from entering, Scarpa lets the water in, while elevating the floor levels and constructing drainage canals along the walls of the interior spaces themselves. “By inviting the water into the building, Scarpa recreates the play of light and shadow found throughout the city” (Birksted 2000: 53), as seen in Fig.6 below. Fig.6. Fondazione Querini: Facilitation of the Flooding in of Water (Querini 2002) However, floods have reached higher levels than what he had expected damaging the raised wall panels, and leaving traces of water on the coloured stucco. The ground floor of the building (Fig.7.below) is permeable and transparent, with the garden functioning as its natural extension (Querini 2002). In the illustration shown below, Fig.5, the drainage canals along the walls of the interiors are clearly visible. Fig.7. Fondazione Querini Interior Reconstructed by Carlo Scarpa (Querini 2002) The affected panels express the ageing of the buildings, while simultaneously reiterating the original design intention. Because an actual flood in the building’s history is available documented, the panels raise direct memories of Venice and its nature. In other details of the building, Scarpa makes use of indirect memory, reflecting the surrounding city and its distinctive characteristics. Similar to the bridges on the islands of Morano, the entrance bridge to the Fondazione Querini is made of wood and metal. Like the stone bridges, the hand rail pieces are joined with a connector. In the stairs to the library, “Scarpa exposes the layers of old and new, adding treads to the existing stair, and allowing both to exist simultaneously” (Birksted 2000: 54). In the backyard is a small canal which is a miniature representation of the city. Further, Scarpa organizes concrete blocks into different levels, treating their corners with the same technique of stablising the edges with white stone, applied to the brick walls of the island of Torcello. Fig.8. Small Canal in the Backyard Separates the Planted and Paved Areas (Venice, 2010) Through careful geometrical definition, Scarpa makes these Istrian sandstone forms prominent, drawing attention to their function and aesthetic appeal at the same time. In the backyard, a small canal separates the planted area from the paved lower area (Fig.8 above). “Together, these single pieces integrate the building into the aesthetic and functional systems that formed Venice itself” (Birksted 2000: 54). Despite the changes brought about by Scarpa, the motifs are familiar and the building appears to take life as part of an existing group, rather than a solitary intrusion into a historic urban environment. Further, Scarpa’s interiors which promote the inflow of natural light can be compared with the architectural elements in Sir John Soanes’ Museum in Holbon, London. The building is designed to receive natural light on all the floors through a system of skylight on the roof, and a shaft passing down the floors, through which light passes down to all the floors below (Phillips, 1997). Conclusion This paper has highlighted Carlo Scarpa’s architecture with respect to detail and the user. The evidence from research indicates that when it comes to conceptualization of architecture, the user plays the most important part. Thus, designing and constructing buildings from the perspective of the user’s corporeal relationship with the built environment, is essential. Carlo Scarpa’s use of the relationship between the body and architecture was examined. The basic elements of architectural construction such as joints, frames, and other details were of primary importance to Scarpa in his work. Further, imaging the user, creating architectural details in relation to the user, as well as on memories based on affinity to a place were examined. Scarpa’s technique of layering memories of a place helped him in creating works such as Castelvicchio that did not try to imitate the ancient architecture that had to be restored, but found authentic but contemporary ways to reconstruct old buildings. By the use of memories, Scarpa expressed his affinity to Venice, and his love for nature by creating unique buildings such as the Fondazione Querini, in which he made provisions for flood waters and natural light to enter unimpeded. It is concluded that Scarpa’s architecture was highly creative in engaging the user with the built environment in unprecedented ways. BIBLIOGRAPHY Architects20thCentury. (2011). Caselvecchio museum. Retrieved on 20th April, 2011 from: http://www.google.co.in/imgres?imgurl=http://web.dcp.ufl.edu/maze/PUB/arch_humanity/3.1%2520Architects/20thC%2520Modernism/Carlo%2520Scarpa/c Birksted, J. (2000). Landscapes of memory and experience. London: Taylor and Francis. Cadwell, M. (2007). Strange Details. Massachussets: MIT Press. Coombs, T. (1999). Scarpa’s Castelvicchio: A critical rehabilitation. Speaking of Places. Retrieved on 20th April, 2011 from: http://designobserver.com/media/pdf/Scarpas_Caste_733.pdf Davey, P. (1997). What’s the point of the past? The Architectural Review, 201 (1200): pp.4-6. Dodds, G., Tavernor, R. & Rykwert, J. (2002). Body and building: Essays on the changing relation of body and architecture. Massachussets: MIT Press. Frampton, K. (2000). Rappel a l’ordre: The case for the tectonic. In A. Read (Ed.). Architecturally speaking: Practices of art, architecture, and the everyday. New York: Routledge: pp.177-198. Frescari, M. (Autumn 1987). The body and architecture in the drawings of Carlo Scarpa. RES, 14: pp.123-142. Jones, P.B. (1996). Mining the past. The Architectural Review, 199 (1188): pp.52-54. Panoramio. (2011). Cangrande castelvecchio. Retrieved on 20th April, 2011 from: http://www.panoramio.com/photo/2241440 Phillips, D. (1997). Lighting historic buildings. London: McGraw-Hill Professional. Querini. (2002). Carlo Scarpa: Fondazione Querini. Retrieved on 20th April, 2011 from: http://translate.google.co.in/translate?hl=en&sl=it&u=http://www.querinistampalia.it/scarpa/index.html&ei=2wi7Td64K4W0vgObj82-BQ&sa=X&oi=translate&ct=result&resnum=1&ved= Scarpa, C., Beltramini, G., Battistella, G. et al. (2007). Carlo Scarpa: Architecture and design. Italy: Rizzoli Publications. Unwin, S. (1997). Analysing architecture. London: Routledge. Venice. (2010). Fondazione Querini-Stampalia, Venice: Interventions by Carlo Scarpa, 1961-1963. Abstractions of Delusions. Retrieved on 20th April, 2011 from: http://da-beer.blogspot.com/2008/02/fondazione-querini-stampalia-venice.html Veronissima. (2007). Carlo Scarpa Restoration. Museums: Castelvecchio. Retrieved on 20th April, 2011 from: http://www.veronissima.com/sito_inglese/html/tour-museums-castelvecchio-scarpa.html Read More