INTRODUCTION ot The fe Whee Dota! Cconsction. i poticua’ ie the fora! arc! cual joins” beter moteticls this illventiol essay, Proscar privieges the ©” ginal delaios the gonrator ef co stucton, an thorelora oF nearing. Tre tecronic raf thus the sto of ingovation and irvseon, oscar defines cichrecure as the rsuh 0 tho design of details ond ther esc. tor ane sabe ston, ' Venile functioning orogmaticall, he lestie” ‘etal cor cleo be seen as on aeshore expres sion of snuctste ond use. reading suggests at the del isthe rinirum unit of signification within the architectcl cxoduc: for of mesning. As in Gregot’s “The Exercise of Detalling.” is chopren Cale Searpe’s work is chosen 0s exerpia'y because “each deta tals Uusthe sory efi making oF its placing, af ‘imensicring,” The ie of narative oermecies, the orice, for stance. in he iniguirg ine thot jovrs ore pretows for germaing new tens This is bbe. Proscar clairs, secouss the ost or [oir con impose it onde: nthe whe. Thus, locolee within tectonic i an encess se of cxchirechel is The “zetre of logos,” wa'ch con be Lndassiood 0s the preduetion af dscoutse. is the ospect Frasceti cas eonstuing, Lie Mastic Hheidegge,Fro:cov is interested in fe tyme’ 15 seri agical Cal comecion outvecn word. it com terwean consucing [buln) Igvrg der ord eligi" conutusing weong) er diction. burg lb wit onetoton ol ong lars doepordscn huang. ce guste com o pronererouge ands cab e ovcsoue puchacgy nerobaes di Wea o te pce sect Tetons seer 0: goraatve of min fosraden shoves,MARCO FRASCARI THE TELL-THE-TALE DETAIL ‘The architectural community has wadiionlly ascribed “God x 9 ally ascribed the maxion “God les in she deal” co Mies van der Rohe.’ The German version ofthe adage, Der lire Gat sec in Detail. pesbaps she original source of Mies’ msi, vs wed by Aby Warburg eo ind ‘ate the foundation of the iconographical method for researching in ar history. The French version hasbeen attibured to Gustave Flaubert, and in shi eace the maxi ind «ses a manner of literary production.” The comnion denominator in these efferent forms and uses indicates cha the deal expresses the process of sification: that is he gesshing of meanings to mangrodacl obj The da at then the fat wht cowl sof an outer in which che min finds is own working, tht is, lag? Tesi hp ne he rm ae ly ascribe toch plan, and to show that technology, with ts double faced presence sen of eg” ar lg of ehh bas forthe underage le of deci. That sco sy the “constuction” and the “construing” of architeccute are both in the dei Ea nado mensional dete aries dl canbe Uefinad asthe union of construction, the rele ofthe logs of tecné, with constrain the result ofthe te of lag ad " : Dh meh han dn sn hn ise imal units of signification in the architectural peoduction a seers units have sic estan torsos ee sit tenants ind eva ier dncheduie cing sinbantetioaspae eae eho htt nh mah Reel ee rom VIA 7: The Boiling of Abeta Ughhs 3°57. Courtesy of the author and publisher, so TECTONIC ExPaession of architectre notes: “‘Wharever the air spaces: areas and dimensions involved, iti the precise study and good execusion of details which conti architectural greatness, ‘The etal tll he gle. "* In the detail are she possibilies of innovation and invention. and it is dhrough these that architects ean give harmony to che most uncommon and difficult or disonder~ ly environmen generated by a cultute.” The notion that atchicecture is a result ofthe lution, substieution, and design of details has always been a latent concept in architects) minds. That is ro si, there is eruth in che classical commonplace of architectural ext cis: “That might have been great architecture if only somebody had worked out the ileus...” Carel dealing isthe most important means for avoiding building failure 0 both dimensions ofthe architectural profession—che ethical and the aesthetic. The art of Aeaaling i relly the joining of materials elements, components. and building parts in a functional and aesthetic mann. The complesty of this art of joining i such that a deal performing satisfactorily in one building may fail in another for very subtle reasons “The discussion ofthe role of detail in the architectural process of signification will be developed in to parts, These inquiries analyze the understanding of the role of the etal within ovo different but interlocking realms, ce theoretical and the empirical The Gist put is search for an understanding of che concept of deals indifferent levels of architectural production, The result of this inguiy i the concepeuat ideifca rion of the detail with the making ofthe joint and che recognition that details themselves ‘ean impose onder on the whole through their own order. Consequently, the understand ing and execution of details constcute the basic process by whieh the archiectaral prac- sice and theories should be developed. “The second pat is an analysis of the architecture of Carlo Searpa (1906-1979), @ ‘Veneto atchitect. In Scapa architecture, as Louis Kahn pointed out, “detail i the alors: tion of nature.” The architectural production of chs architect, in which che adoration of sl interpretation of che rote of culcucally definable modes of construc the making of joints i almosc obsessive, allows an empi stalin che proces of signification, seen withi tion and construing, In Scarpas works the relationships berween he whole and she pars and the tclationships berween craftsmanship ancl draftsmanship alow a direct substant- ating in corpre vii ofthe identity of the process of perception and production, chat, the union of the construction with the construing in the making and use of deta Dictionates define “detail” as a small part in relation toa lager whole. In atchitec- suze this definition is contradictory if not meaningless. A colurnn isa deal as well as it ina larger whole, and a whole classical round temple is sometimes a detail, when ie is lantern on the op of a dome, la agchitecruralTierarare, colurnns and capitals ate das fied as detail, but so are piznt mobil, porches, and pergolas. The problem of scale and ‘mension in those classifications and the rladonship berween aediculas and edifices inakes the dictionary definition useless in architecture. However, its posible ro observe thae any architectural element define as det is always a joint. Details can be “mate al joine,” asin the case ofa capital, whic isthe connection berween a column shaft and an architrave, or they can be “formal joins,” asin the case of a porch, which is the con ection between an interior and an exterior space, Detail are chen a direct result of the ‘ule realty of functions in architecrae, They’ate the mediate or immediate PS sions of the steuctare and the use of buildings.” rRascarl %‘The etymological origin oF the word “desl” does not help at alli understanding the architectural ase wf che term. In archiectuallteratute the term appeared in the French theoretical orks of the eghtcenth coneury and from France spread all ver Europe. This spread was caused by the coupling ofthe ttm with she concept of "syle and by the active influence of French " ny ei an theory on the French neo classical architects. In 1670 Despreaux Nicolas Bole, in the fise pate of his Lr Pectique, sarin against the use of superthious dealin poems, setan analogy between 4 overdetsled pale and an exerdetaled poe.” By he eightenth century this nal oy was commonplace and, ascribing ie xo Menteuuiew, Giovanni Batista Panes atcacked it strain is dense of his architectural theory of everdetle bildings. The French chereticians ofthe architec parle were the ones who formally consolidated the role of derail in architectural production. Inthe analogy of te “ypeak- ing architecture,” dhe architectural detail ate cen as words composing sentence. Ad, 2» the selection of words and sole gives character 0 the sentence, in a sin slesion af dis nde chracter oa ulin This powell he de ss generator of th character ling wal pone ot bon Sone in one a eters on atc: "Too much onion ean not be eno paced Character in very ling, os onlin grt ar tin ord hence ee Somblge of hich fms pe ln the Beaux-Arts tradition che understanding ofthe role of detail asa generator of the character of buildings determined a very pecliar graphic means forthe study of ie the analyeigue, In this graphic representation of a designed or surveyed building the details play che predominant role, They ate composed in diferent scales co single our the dialogue am the aempe nh ar inthe making of th eto he bli Sometines the dings whee spree inte drawing and gencl epee semed on a minuce wl, and so sens adel among deta The eign th sbique an i oes ons oF ahietre canbe treed Buck othe ech nique of graphi wpresentation and compsiton deeaped by Dirte n hs ching surveying the Magione of Roman ahiecture, Tha ae a gape inemretation, wih a stonger Vii bs, of Cal Laols understanding ofthe bul etna ‘bao aegut so be sited inom fhe mai ls Talon i nov oda th mare appropriate ones." Another ng the architecture of lal, can be found on the back of Ics important 16 neice thatthe emarique as graphic analysis of dems had is deep ins fel nih anti dnt Rees ppue g d showing the conviction of the dail. The drawings caved few i any dea and dlmensons The designer could he almost entr dependent on his cease. Builders fad mo noe for drawings to show details whose execution was a mater of common knowledge, Construction of dais was parceled out among the vais deste wb supplied the necessary knowledge for making them. The sim craftsmen who furnished the information for the [Denis Diderot and [Jean le Rond? D'Alimbert Eng lopdie vst ale o const the drawing with the cxact ee oF heats, and ee aii spl se source forheandesanting of itd ofa sgl in shove composition.” - ‘The production of details ast was established before che development of the indus- twal society and motivated by different cultural needs, began co become problematic in & predominantly economically morivated society: No longer considered as long-lasting cul {ual and social repositories building, canve eo be viewed as economic investments with an intentionally planned short existence. ‘Ivo polar reactions had developed from the change that accurted in the scope of edifices, One of the reactions was thatthe various boiling trades no longer inferred che construction of the detail from design drawings The details were studied and resolved om the erasing boards. Drafismanship was substi tuued for workmanship, and the development of “eal details” was replaced by “viral” procedures. From this point of view the detail was no longer part of the building, The eral was no longer seen as a jn; instead, it was seen 2 a production drawing, an “American Gilosary of Building the teem “detail” i defined ay “the delineation to fall size fora large scale of any portion of an architectaral design." A French glossary was even. more precise in this understanding of detail: "Deca: Specification or description of the work to be perfonmed in the execution of a building. In chisinerpretation “etal” a verbal and graphic means for controlling the work of va ws of vocationless work crs who are unprepared for thie own jabs and possibly even financially dishonest “The second reaction eo the change thar occurred in the role of deni isthe one that ‘can be exemplified by che architecture produced by the Arts and Crafts Movement. The “detail, in this movement, was sco a the means for the eedemption of wotkers. The skill and knowledge of the making of details were given back to the workers, Workmanship ‘was seen asthe soe parameter for dhe details, which in ehemsehes were seem as rfine= mene of building tradition, The knowledge of details and of che related skills was the nee- cary means far the architevt tm practice his profession, sce ir was his task to select the appropriate workers for the appropriate desi ‘This duality in the physical production of detail is also found in the mental pro- duction. Using a conceptual analogy, i is possible to define architecture as a system in ‘which chere isa “total achitectar,” the plo, and a detailed architecture, the cake. The etaled atchitectune is based on “the constant process of drawing extrasystematic cle- ‘ments into the realm of the system and of expelling systematic elements into the area of thot systen\..oThe stone that the builders of a formed and stabilized system reject for bacing. from their point of view, superfluods and unnecessary. turns out to be the sor nerstone of subsequent systems." From this poine of view arhiteceuse becomes the arc ‘of appropriate selection of details i the devising ofthe tale. A plot with the appropriate details becomes a fally developed and succesful “ale.” “Architecture as art of the appropriate i che theme of Leon Batista Albertis archieeetural cheory. Alberti sees architecture as che art of che selection of appropriate euils whose result is beauy, whieh isa meaningful goal. He detines beauty as “the ‘omcinnity’ of all che details in the sniy co which they belong’: in ather words, beauy isthe skill joining of pares by 2 normacve by which noching can be alded, subtract: ted. or altered for she worse. Generally this principle has been interpreted as stating that 4 building should be a complete and finished whole, a coral architecture Albett however. does nor apply this concepr to the aewul edifice. but, rather. to che mental tone.” The jin, thats. the detail, i the place of rhe meeting ofthe mental constewing ition. A perfect instance ofthis union of mental function and ees and ofthe actual consphysical repreentation is in the fgade of Palarvo Rucallai designed by Albert in Florence. Although the faade is incomplete and its incompletenes is leary shown, the decile architecture is complete and nothing cas be added or subtectd foe che worse “The grooves ofthe joints of he stone slabs composing the thick vence of the Flor schiacita (representing the pos and beam seta of the chee superimposed casical Orders, related with arched windows and infin walls ate the solution ofthe mathe matical problem st by the relationships existing among the pats of thet cases the joints ate not real ones. and che shapes ofthe stones are not as regular as they appear: fake grooves were carved in the stone to make the detailed architecture complete and toffee a dhe same time its own proof, Alberts search for “Beauty” is he setting of precise relationship beowoen the detail and the artached meaning. Beauty isthe result ofthe process of signification, and ecin- nips the process for achieving it. Concinnigy isthe eoreespondence of three basie requirements: } Numbek 2) Finishing, 3) Collocation. * ‘Number isa system of calculation. “The technique of calculation is part of dhe technique of house builing”™" Numbers ie this way are tools for giving meaning. In arcitccrue there are elements, and, in onde to build its necessary co draw numerical correlation among chem. In triforium, thre arches are correlated 10 Four columns co make a seiana, The proof is in the details and ic is exprested in tims of mouldings, copia, bases. and keystone, “Numerology” chen is far Alberti a technique for the selection of igues,cherey signalling that the deeils are related w memorable shapes such asthe human body o¢ cosmological figures.” Finiing is mathematical procedure for the definition of the dimensions of the ection in which the space of architectural abjcese i arrculaed. The edge of the ei dimensional bodies of architecture are defined by a system of proportions, Proportion ar “analogy” is the use of relations in a measurement." An analogieal system is set of ‘norms for the ceaion and combination of deus, A basic measure, oF module, isthe ‘norm fom which all the lengths, widths, and heights are derived. andl any single det is measured afer it Then all he parts ofthe building will stand vo each other in a diet and intelligible eclationship. Ths relationship stands even when its Form docs yet have a verbalize expression, Calocation is the composing by place, that is, the functional placement of the dena, The funetion in this «ase not only is limited to the practical and structural dimensions bur it embodies, as well, historical and aesthetic dimensions. The placing of details, then, is deeply elated to the other two requirements: numbers and analogies. ‘The deni in this manner isnot defined by scale, bus, eather, ehe sale is the tool for contlling it ie. Tn ma ‘The geometrical and mathematical constuction of che architectural details sense a echnical tstion, The matter should be regarded as falling within the philo sophical problem of the foundation of architecture or geometty and ultimately within the theories of perception, The processes of designing, ordering materials, and building & house are techniques inthe same way geometry isa technigue by wich the designer, the builder, and the user ‘fz house rransform the appropriate sign with a view so predicting the occurrence of er tain events, This technique (geometty} provides us with a structure for describing the bik word cance Famer into which dhe designer, the had she mer cenit copia capeacne Games how t Sev shape Fem another Shape by asocmaton Tr thin aie yomeny des no wate Bue ges ce form in wh owe cat te pide th Tings seep strate for she consonant Cora af a bung, The peometral statues embodied sm he architec Gera dno tect but air provide secre for sein fas within a "se. ‘Tey gine us map af making comparons sae meaning lt vial peeved dich des The notion ofthe invdally perceived das can be eset wrth phenomenon of inet vison” a explana by Hern yon Hembole “The eye epesentan opal insiunten very aged of vision, but iy 3 sal ‘sory nals confngl pa ofthat if sion produces ear imag. The whale kd otrespnds toa drawing which che mos imporcan pare fhe wholes ctf en eve bur dhe surrounding is merely etched. ad sketched the more rug ee fa ‘heres removed fos the main objec. Thanks the may of the eye, however js possible to examine ctefily very post ofthe visual id in sce." stimuli only Hsin son gestion ni ht ny nl on sacar Sach ge tha the deta cue aeaning by vite of which they sree of knowlege thigh Tong proces of ssa an empatben nd hough ef gamer anh “he pcm ebony bodied nh dean enone sll asin sn emonmen sete undead ofthe ge Bld of vom. The neil loncip or roposdan ates othe compound pcr th High Gani Meivevae exes inn every ere of the imped spent. Sich wae Monge athe nels of he arsormation in stone ofthe secon eine a ‘Chol meting oan avagement acorn ste of homologous pa and pun a pave The de inti hie fgning ah inv whole atin Sil perce andro The role of peepeion af deals within dhe phere father apo somite by Wake eri uikngs ae appropsiaced in «rwolll mane: by se and by pecepion or rater by toch and sight. Tate appropriation is accomplished no so much by asndnn by hai As eg actu, habit determines oa lee extn enn epic eceprion, “This is an empisical theory chat rqgards all perception of space as depending wpon conventions and takes nor only qualities, bur even details as nothing more than signs the meanings of which are learned only by experience. These conventions ate che bass for atchitecrure understood as existence, form. and location of external abject These “Heliholesealls perceptions.” Pereeptiony are she ideas or signs of objecs resulting from an interpeettion of sensations that is cared ox by processes oF unconscious geomett- cil inference. The pla of details has « key role in these processes af inference, Thetical proposiions. In architecture, fling a handrail. walking up steps or between walls taming. corne and noting the siting ofa eam ina wall, are coordinated slements of Sinus The ston a hse dtl ges ith 0 he sone ‘that rica meaning to perception. The conception ofthe architeceucal ypace achieved in ‘his way isthe tvul of the association of the visual images of details, gxined through the ahenomeron of vsn wth she geome propostonemha n n, dimensions, and location, developed by couehing and by walking dhrough build jou bul ‘The art of detail isin ics most sophisticated and learned farm in the york of Carlo Scarpa, An analysis of the concept of detail it Sears architectuce can hest he begs With the words of Louis Kahn visual sensations guided by the tactile sensations are the generator of the goo In che work of Cala Scarpa Baur she ine sense an th ist word hem onde them she nr ezation of Form, the sense of wholeness of insparable elements Dosgn consuls Nature to give presence ro the cements, A veork of at makes manitne the wholones of a he phony of he slstod shapes ofthe elem. In the ics dhe join inspines oman, eckebration The desl i he adoration of Natur.” Ihe “adoration ofthe joint, in S snpas architecture, is a perfect realization of Albers soncinnity. Each deta tells us the story of is making, ofits placing, an of its dimen- sioning. The selection of che appropriate detail isthe result of singling out its function Al toes. The denils of Scarpa architecture solve not only practical functions, ut abo historical, social. and individual functions,” Scarpasarchicecture can he generically clasiied as the merging ofthe principles of the organic architecture as expressed by Frank Lloyd Wright with learned disiling of ‘Veneto crafismarship witha blend modern and ancient technologies, However the def inition is inadequate: whereas Searpas undeestanding of Wight’ atchiteture was pase sive. based on an appreciation of phocogeaphs and drawings, his understanding of ‘Veneto cratismanship was active, hase on his daily working and dealing with the stone jsuters, masons carpenters glassmakers, and smiths of Venice. The revult isa modem architecture chat is more than rational structures and fianstional spaces, The teaching of n Scatpas work, but the Functionality is mediated by the search expression through the ms g. Scarpa’ architec stad sapainst the bare seucture of logic: ie stands forthe union of resand rer hati, for the Union of representation and funesian, This concept rules Scarpa’ architecture from structure 1 expression, In his architectural objects the techn ofthe fos the constesing, hocomes the manner af production of signs that arc che detail. The lage ofthe teviné the constructing, which results from the expression of Veneto craftsmanship, becomes the dialectal courterpase in the generation of the details as signs. Scarpa buildings Shove indecd a constant search set between the acts form {he buile one), and the vr tual form (the perceived one). The constant manipulation of the discrepancies between ‘Setual and actual forms is the method used for achieving expression. “In archiceetre,” Scarpa once sid, “there is no such thing. as a good idea. There is only expression.” "The analysis of Scarpa detail can be satisfactorily managed visually only by a com tinuous comparison becween drawings ane built objects, om the one hand and the bis torical, practical, and formal reference tat generated any single etalon the other. Iris riko necesary 10 see Scarpa details from eo diffevent sides. Or one side, his dealing is the result of ineericing of design and crfismanship on the site and of the constant -cnsotial verification’ of details dusing che assembly of che building, Scarpa made a practice of visting the building ste during the night for verification with a flashlighs, 1g the exccution and the expression ofthe details Inthe Tighe it would indeed be impossible ro focus an details in such a selective manner. Ie is ao a procedure by which she phenomenon of the inditee wision becomes an element in the process of decision in the design. The flashlight isa woo! by which is achieved an analog of both the process of vision and the eyes movement in its perception field (with tony one spot in focus and the eye darting around). Another Veneto architect, Picanes ‘used the same technique in visiting the sits of the buildings he was going co survey and represent in his etchings of the Antihine Romane. To single ouc the “expression of the Fragments.” that is, the details. be used the lig of a canle* ‘On the other side, Searpals details are the result of an intellectual game performed ton the “working drawings” thae are the esule of the interfacing of design and draft rmanship. Tha game is the matching of the construction of a representation with a construction of an etific. The relationship between architectural drawings and build ings is generally thought of as a Cartsian representation based on visual matching of lines. However. Scarpas drawings show the real nature of architectural drawings. that is the fact thae they are representaions that are the results of consti They are a construing of perceptual judgments interfaced with the real process of physical construction of an architectural abject. The lines, che marks on the paper, ate f tansformation fiom one system of representation to another, They ate a eransform tion of appropriate sigas with a view co the predicting of certain architec that is. on the one hand che phenomena of construction and the tt the builders and on the other hand, the phenomena of construing ad the tr tion by che possible users. Consequently on the same drawing thete ate present several layers of hough. ‘A design is developed by the same technique in which che drawing is made. The con- tingous inference processon which the design proces is based is transformed ina sequence ‘of marks on paper that are an analog, forthe processes of construction and constrain, The piece of drawing paper selected for supporting the slow proces ofthe constuction of a thereby contol smal day wfarmation by formasdesign presents concurrently vertical and horizontal scetions, as well as elevations of the designed piece. These drawings ate surrounded by unframed vignettes that analyze t= «imensionally any joint ofthe abject, asin a prediction of che tole of each detail in gen- ‘rating the whole text and in che perception of them in the “indirect vision.” Scarpa «drawings do nor define future architectural pieces 3s 2 simple sum of lines, sunfaces, and volumes. Rather they presen the process of transformation ofthe details from one sys+ tem of represensation 19 another. fom drawing to building In Scarpas drawings it is also pessble to have the “proof” of the system of appropriation that rules the perception of architecture, These representations of croc. dimensional stractu ‘on a wo-dimensional surface result from the interaction existing heoween visual and tactile perceptions. The cent part of the drassings generlly presents graphic constructions shat might he labeled a technical drawing, But they are not what are traditionally identified as plans. sections, and levations, Scarpa drawings are nor merely devices of Cartesian descriptive geomecey: rather, they are descriptions of the Fucure perception in celarionship co the making of the architectoral ‘object. The visual components of perception are analyzed for a detail and tot for the whole, whereas the ractile perceptions are verified for the whole. These drawings present components shat are not visible hut that ate the esule and the projection of conscruction and construing, Alberts mental edifice. They are the resule of the memory effets ofthe organs of touch and sight in dhe making and using of architecture These drawings ate never filly cendoted. Only fragments and parts of them at, ‘This practice shows by analogy that, while itis whole, Scapa’ atchirecuue cannot be characerized as complete. An architectural whole is seen asa phenomenen composed Dy details unified by a Mleviee." 4 stricraring principle Thi principle, in Sears archieecture, is the order generated by the use and the understanding of classical architeceural ideas such as agade design, Scarpa isa Magiter Ludi. and his billings are rexts wherein the deals ae the min- imal unit of signification, The joints berwoen differene materials and shapes and spaces ate precexts for generating texts. The interfacing of commentaries with preceding texts in che architecture of Scarpa is always problem of joints, and in the joint he achieves the change of conventions, That possiblity isa consequence of the fat that many of his architectural rex are earned commentary to preceding texts and in many cases, asin a medieval «hol, the commentary init interfacing with the original tex is generating anew text In the design ofthe addition to Gipsoteca Canoviana in Possagno, Scarpa wis able co change the convention that asks forthe background wall a a collection of gyp sum casts to be tinged, Searpas solution was to put the white casts aginse a white back: ground wall chat was wached with light, without directly lighting the casts. The problem and the solution are in che use of light. Scarpa solves it ina detail in che joint of thece walls in a corner made of glass. In a lecture given atthe University of Venice (1976 he ‘scribed the architectural making ofthis comet. The achievement of the effee of light ‘occurs by a formal manipulation. The solution of the formal cause solves the final cause He described it 2s “clipping off the blue ofthe sky" a formal cause, bur che eesul vas the lighting of the wall, the Final cause. Hs own words are the best description of the making of an architectural det NIC EXPRESSION Hove aoc of natural Fight: E wanted t lip off the blae of she sk: Then what want cod wns an upper glass yexes.‘The gla corner become «blue black pushed up and inside (the building], the ighs urinate all she four wall. My bias for formal solutions made me prefer an alate tansprency: Consequenely Ud not want the comer of glass 10 ein a frame, Ie ad ees 3 ou de fre because it was not posse to obsin this ies of pre ranspareney. Whe Level the glasses Tsce the omer any= ‘nay essai if the glass hick, One may’ as wel pt nthe frame. Then asides his ‘Fic ya clear day ane may sce the reflton. Look, when sw the flection I hard ysl didnot think off. Those ae mistakes which one makes i thinking. ating ant making, and therefore bit] ie necessary to ave a double mind a wiple mind, the rind like dha ofa robber, a man who speculates who woud ike to aba bank, and ie is nocesoty co have that which I call wt, an atentve tension toward undetstaning ll thats happening * The development of achitectute in the works designed by Scarpa proceeds by steps and sages. These ae in che details. Each deal represents an in be considered Final teu, Scarpa would invent deus the precise architectural fae tis of which would become clear only ater they had been used in sever diferent sksigns, The range of those aecicctural functions goes from the immediate to the med ate understanding ofthe meaning of che det. This erative use of deals in design is fully in accordance with [Ligh Wiegenstcins undersanding of a creative we of lan- sstge. The “eact” meaning. that i, dhe function of woes, would only become known by later use, A function of detail in a design becomes clea by te-pesentation, thats by reuse, The detail often appears incomplete and vague in its sructuting principle Bt, unifying in il function and represenetion, the re-use ofa detail becomes acre ase ctapt Ke becomes a frie deta. The re-use of devils i analogous 0 Richard Wagner reuse of kitmorf® The leizmonif are stactral devices wsed by Wagner co assemble and resonstrace the architecare of opera from within and are the smallest, of signification in the musical txt. Scarpss details ate steucrural devices used to semble architectural tet fom within. Ace of fertile detail in Scarpa architecture isthe use of the “ziggurat” mod The achitctra function of these frie duals emerge in the Brion Cemetery at S. Vito {CAlkivole and in the fagade and the interiors of the Banca Popolae di Verona Inthe Cemetery the vigurat sexccwe in cast concrete, and iti celebration of the pos im revue tha cannot bilgy casting as generator of mouldings. In the bank, especially in the fagade, che zig tguat details print donna in Rosso Verona, the brocade-ike local red marble in which itis executed. Scarpa’ frst use of this detail was a cosmetic treatment of a temporary fagade ‘evecuted by pling up concrete blocks in font ofthe Laan Pavilion a she 1962 Biennale in Venice, Buc as Heraclitus as pointed out, the primary roor of "cosmesis’ i “cosmos. This same cosmetic detail becomes the principle of order in Scarpas Museurn of Castevecchia in Verona. The rigguear motif becomes the solution for terminating the layers of che wall of the fagade to show the virtual joint henween che original walls ind the Romantic replica of the facade wall constructed by Antonio Avena in 1934 In the Museum of Castehecchio, the medieval equestrian statue of Cangeande and AP esCarlo Scarpa, Mus Ai Caselsxchio, Veron, Jone, with Can nde Ine structare which suppores i are st in a spatial location that allows a view from the ny the bridge, ad the cout bo This location allows one to view the statue frm up aswell as fom helen, a twas sen in its original location on Cangrande es the full text of che spatial organization of the Castelvecchio fuseum, Ir has becomes the cause for he formal solition ofthe muscim and the teat acy design of the plafoom holding the statue of Cangrande shows ita the pre sc fora celebration oF the vital joint determined by is stion. This drawing the idea of the ziggurat as a generator of che wall. The layers of the wall becom ieperilent units and cach one of them is expressed in vertical ziggurat, The space pence ap by the cutting of the fagade wall helps the whole composition of the new agenene of the munctm devised by Scarpa, The space vittual joints then ee ey ication in the museum’ path, but ar the same time becomes 2 “negative joint” in the rcieulation of the masses of Castlvecehio, The open space instead sect the lef and the right masses ofthe castle, These are situated on the sides of the which articulates the joint beeween the bridge on the river Adige and rhe caste w selection of the riggurat asthe ending oF the wall mediates the eransition berween rticulaion, Icexposes the materials ofthis complex architec ‘tal hinge composed of versal planes defined by their Farming relcionship with the ‘ie of Cangrande the vial pin of the hinge, The siggurat detail is also used in many hee pars of the museum. Ina study plan of the entry. this letile detail is used in solv che dee the joining ofthe stones used for the flor aswell as i sot reveal oF che ‘he ziggurat detail is ako used extensively in the Brion Cemetery. The material, cs place concrete gives new meaning 10 the detail, The interaction betsecn form and uteri moves the fertile decal fiom she realm of a production sb specie ular toa eduction of su ternitats Weis conse 14 “rin” loaded with memories re time. It becomes a perfece deal for the achiteccure of a cemen a fertile 1s fering shen it moves out of a private archiectural language andl becomes available hs ys a place of ‘mores. In this use che ziggurat finds its proof of b ltl, A derail proves h a collective production, A fimous cave of sis isthe Seriana Window that after sea by Palladio became a stndaxt detail known as the Palldian Window: The Scanpian Ziggurat as indeed been wsed by many architects in their designs, bur now is sv in callectivearchicecure, fe has become a standard detail of Veneto cemetery ach «ture, The neoclassical comple i auriewhich has boen she type for many ily chapels hav been modified by a new model reforence. The detailing of the Tascan ot Dorie Yeers has been teph New Order. To signification (chat is the manipulation of meaning), i is usetul to wscate tha archi 1 now densling, «concrete cast-in-place Scarpian Ziggueat ‘ture isan art as well 364 profession. This is because of the understand I need of sheler but also in parting wes and materials in a meaning manner. This occu taroagh formal and actual jines, The joint hati he Fertile detail ne plice where both the comscruction and che construing of archivectue take place{Furchermore, itis useful co complete our derstanding of this essential tole ofthe joint | as the place of the process of ignification ta recall that the meu pal Indo-European roar of the word ays “joint.") As Kan has sid of the “The jie i the bongo ornamen And that mast he disingishe fn Aecoration which x simply appli, Orman he adoestin ofthe join + Philp Johnson “Archteceuel Desi” Anita Recor gg 137-1 2 WS, Heckscher “Petes Prcepsions." fa of Madea aad Reva Sais (1973 rou The ies wf he process of igniaton in es details can he waved then Leos to Ramon Ful 5 Injovting daw thse data canceting he adage, I had aps cde and ost of opeling God with one a Typed it ith re a6 Lateran the se page of ry noxeook sstbble den a nore taken fom a passage Fm Vitus eee on aehiccuee. Dr biter. Ben, comen,IRome: 1960) 10. A fe day ater, reve the mores [was amazcl by the prsenee ofthe qua-Paonictanserption of a an Astonelin maxim—i. "Gov! fs i the dtl next toa ote ating that Calon, ‘he mythical designer ofthe Coringhian epi. whose same i Greck mens "He who Fighe song or beau; had been nicknamed Kasten be the Athenians By this long and comphicared als the Athenians recognized Callens work a the ws an activity that proceeded wih rational med fomand a spec proxies and 4 knowing in the doing. Thi fri in sri embod nthe ecb tM, bund Parente, Tene [Florence 1966). Ths curious mnplling accent and association of ‘sons brought ine to coder te role of einen the praductnn of ache ad in the proces of aechitctural igniaion 4+ Sinshe achitecturl deal the pracial norms (tcchnologs ad the aesthetic norms {semis come together in a dalecia latoasip. Te deals the unit of achat prnlaction, See far the origin ofthis hoor i the eighteenth wears Magen Frc ‘Sire AvhaeciTn the Eightceath-Centary Veto PD, diss Unvesit of Pernsyani, 18 5 Foca sure and a discussion ofthe diffrent slments andl theories developed i architectural semiotics see: Marin Krampn, Menu he Ue i inven don 1979 6 Je ahacu, "An Approach zo Architectural Compostion.” Modul 9 (968): 55-6 See fr diferent approach, bu reaching the sme clas; Roger Sorton. Anahi of ‘Arie Priest 979). 8 Aca isthe collapse ofthe Marcana Library in Venice. tn his ist Venetian building) Sensovino, indeed a skill proto,” ward Roma dang (meetne Rnuenl whic indo didnot work in Venice See. Temas, Vit de poe arches e enn Vinca (ens 8h, 9 Fancsns in acchitecture depend on bed she building ic and on who uss oF ong iy ws Cason and repeated usages ae the ase of functions. ArcHteture not ‘only pets but alo sgnties ts tuncions ang can be organize infu ttn hhrianes the practi. he hisrial he social and he ndiigual. Fora discuss ove four functional ovis and a wpalegy of anetons se. Mukarowsy. "The Pac uf the Asthetie Func Among the Oehor Functions x Apchiteture” in Sure Sid Function Sew Haven 978, 340° 24 oF the word shih inns ten the ellis ves The Fateh sommercil ox of tices of pice and these of hole es. esies chr that dei ae pare, does no ely Whe detail. join ands nonsaboinac reanonship ith shoes, i terra nd habia, areca archer. which is ho in the underway beste and mest wich th bstaty theories of the sightcenth centr fr insane. Anti Cols ‘ena purolrggamon 1 Despre Nios Blo, Pani 670: rp Pats 29681 98 45,8. Panes” 169) J. Willow Bd. He Pall Wik arb J) Sune Eos inbiscre Londen: 929) 477 | Guradiusion of te origin ofthe aitiguesn Lodol’s gndon at S. Fancesc della Vigna se sen, "Sore cite op. So ths rule of the anal an te proce of detailing se he discussion of Antonio riety Frasca, "Sores Aneto. eit 10-190 Cosh of pa vt GO. Gar, THe Ania lar of eccaa Tes Chi: BR isan entre a 8 {% Pmman “Th Dane Ml 9 Semi Stems” Sona 39 (977) 94 So Tam Baier De Re dif Balgs e431. Te ihe ah tis fuente ni bk batted nei md svete Forsks nc nrpacanofthe cons sete enon ofthe soko corainin cheval wpe pee St po, & 1st del ae zo hte dua f bay ele by Abert hs svt Bok 6 Lrg Wingstein, Remar on he Fondation of Mathematics, ae 47 and Vy OMe 1956 {On she we of th human bo ssc desig core and generator of measures se Muuco Frascati, "The Seach tor Msavute im Archit.” o be publse in Re For the concep a aaloge in atchitectoe soe Vie (Fer, | Muarosk, "The Plice ofthe Aesthetic Function” op. sit 340724) {| HLVin Helnhols, ler Grete (Dass 068. 2 xe Totter Pigply of Genny (Doreec: 19-8 Ewin Panolly. Geico Sebati (Now ork 996) Wilke Benjamin (New Yorks 1968, 2) Torn, Palsy of Groner. op its 68. $0 Accalmia Okmpias Cal Sip iso 9 Mekaworsy. "The Place ofthe Aster F Carla Sear “Trammenti 1926-"8— Regie = Hi. focillon, Pinter Bologna: 1962, 16 4 Scapa, “Framers” op. cits #4 No Thule aie, 6 Tora dacunion ofthe use af nile dsl” se she abs ofthe “il oT” fa Anton Threw. Phe Hiden Onde of dar Landon 963. Kah Lig the Doe Iba Worth 1-3) 43 op. cits 40-4. Ii 8 31BLIOG Assademia Olimpics, Cala Sao Vvones 974, Alber, eum Batts. De Ae Aefsrania 4S sep, Nan: 966 Benjamin, Watt farts, New York 96 Banik Reina. Turns ctr, Cts 908 Fiolean, Despre Nicolay leptin 160: pe: Pais 966 Ryusain, Manto, “Caske Scamp” Cito 4 92h 86 Dei” Contin Drab Januar wegt Urenneig, Amon. Pe His Oni fc, LandonFocllon, H. Pras Bologna: 1967 roca, Mares "Sories Andra inthe Figen Fenasyei, "The Thue and che Appearance: The lian Facaisoy axl Crk Scarpa” Da December i982) 5-46 Garvey CO. The dmerian Glasan af Abia Tenn, Chicago 88 Helmhole. 1 Von. Uhr toomeanie Darmstadt Heche WW Teites Pocprions” fw of Medion and Rencivance Seis 4493 100-13 Fohrson, Philip. “Architectural Dell” Ahir cond Apr 196g 97-84 Kah, Hous. Lig ithe Thee. Fore Wordh ys Kampen ML Meaning oe Cibo Breionment. London: 199 Laon, Jsun. An Approach co Architectural Composition,” Modis (6p 5 Lowa, JM. "the Danamic Maida of Semiotic Sistem." Sting, 81 97} 99-310 Mukarvsh: fan. Serre Sign dd Fansion New Haven: 9° Panik, Fri. God end Sholicn, New York 946, Parente, M. lard Txb: lense 196 Peano, GB. Peni! Wor J Wikon-El cd Farnborsgh: 9 Ramee, Daniel Disiomarie ged des terms dachincn Pri WOR Scapa, Calo, Frammenti 925-78." Ras > 98. Serutan. R. Assi of Arter, Penson: 09 Serio, 8. Fata di acitan 61, Soane Lesa on sata, mdon: 1939 Torte R: Philosophy of Geometry fon Raut 10 Pazar. London: 9% Van TU JW “Aechitcenual Dei” Pent Pine May apa June 1920. Viurvins De Artest > vol 8. Feri, and comm, Rome 960, Wingenscin. lalig. evoke Frsuditon of Mathews: Ontos: 936 satu Veneta” PRD, di, Unive