CARLO SCARPA : MAKING ARCHITECTURE SPEAK
Carlo Scarpa cannot be easily defined. An oscillation between the poet, thecraftsman, the historian and the architect occurs that serves to blend any direct definitioninto an elusive amalgam. Having not technically qualified as an architect, the formaldistinction, and perhaps restriction, of such a title left Scarpa as an outsider of sorts. Sucha position produced in Scarpa the rigour and intensity of the self-educated and theinclination toward the regional. Being outside of the International modernist milieu assuch, resulted ultimately in an isolation from the social and economical aspects of functionalist modernism. However, the formal aspects of modernist theory stillinfluenced Scarpa. Subsequently, of the two aspects of the architectural phenomena,namely it’s social aspect and it’s specific poetry, Scarpa inclined toward the second.
AsCrippa continues, the link he kept to the first is what defines Scarpa’s genius. Scarpahimself, in speaking at the University Institute of Architecture in Venice of 1963-64,voiced his dilemma;“I have a reputation as a formalist, a creator of hedonistic beauty. I would rather build a council house.”
Such limitations on his sphere of influence, while not inhibiting his developing a modernsense for the quality of form, restricted Scarpa to small works for private clients, alongwith museum and exhibition work. Nevertheless, time has revealed that Scarpa’s variousinterventions into historical settings, with their inherent regionalism, have providedvaluable social results through appreciation, contributing to the cultural quality within a