Label and colour built

spaces and water

-mark the journey
through life

Dual Narrative. The two paths

through the project are
indicated by the dashed lines;
the longer dashes indicate the
public entry through the
propylaeum, and the toned area
is the public zone of the
cemetery. The short dashed line
which begins at the funerary
gate and ends at the meditation
pavilion traces the funerary
narrative.
Figure 2. Figure-Ground. The street
and Mock pattern of the existing
cemetery is much more urban in
character than that of the Brion tomb,
which is more gardenesque,
containing the graves and pavilions
as freestanding elements surrounded
by lawns and pools of water within
the enclosing wall.
 label
Mark slanted walls

Figure 1 . Axonometrie Projection:

1. Propylaeum, 2. Cloister, 3. Prato,
4. Graves and arcosolium, 5. Cable
"fence", 6. Meditation pavilion, 7.
Family graves, 8. Chapel, 9.
Artesian well, 10. Funerary gate, 1
1. Existing cemetery, 12. Cypress
allée.
The Acrosolium
-main focal point for the whole
tomb, acting as a hinge between the
two perpendicular areas of the site
-the Brion couple buried here
-Japanese and Venetian influences in
Scarpa’s work seen most
prominently here
• four visual nuances which make
the whole
• visually two parts: backbone
spanning the sepulchers, and a
floating plane which shelters the
crypts
• The backbone: four fins which
run the length of the arch. The
two floating planes are
decoratively layered to their
topside rather like the
arcosolium decoration of old (a
characteristic historic reference
in Scarpa’s work)
• connected to the third and
fourth components of the arch
by pin joints: the two concrete
plinths which sit at the two ends
of the arch and ground the
design and also convert the
otherwise compressional
structure of an arch in to a
tensile structure.
• Decorated with the zig zag form
which dominates the cemetery.
• Below the arch: two sepulchres
sit in a sunken circular bowl
which is sheltered by the arch
above.
• The two crypts are sat side by
side underneath the arch and
lean to each other as though
they were trying to touch.
Scarpa not wanting to ground
the two objects too much
curved the underside of them
making them seem moveable
and not stuck to the ground.
• the two sepulchres are
perceived to “float like two
boats beneath the arch.” This is
reminiscent of the buildings of
Scarpas beloved Venice. Also –
reminiscent of a pair of koi fish
circling each other, showing
the Japanese influence in his
work.
 Querini stampalia
It all began in the 16th century, when
the Palazzo was built in the heart of
Venice just a few steps away from the
central Piazza di San Marco. It used to
be a family home for the prominent
Venetian Querini Stampalia family,
considered one of the families that
founded the city. Main idea: mixing old and new

The ingenious design belongs to Carlo Scarpa and Mario

Botta, who worked on the palazzo at different times, but
together made this place a perfect example of the
aristocratic, exquisite Italian architecture.

Mention spaces seen from across the canal

Site context
 The architect built a wooden bridge and
made a new entrance from what once was a
window.

The restoration was intended to respect the

old architecture, fortifying it with new
elements, but with a distinction between the
existing and the new.

introduced new elements translating his

interests in history, invention, and his love
for nature into an ingenious project.

-Mark pathways
-general analysis
Scarpa’s respect for natural elements –
water can flow into some spaces, creating
harmony with the building

To accommodate the ‘acqua alta’ – tide peak

Courtyard: manifests the architect’s love for Japan with a cherry
tree, magnolia, and pomegranate.
Set into the wall is a mosaic designed by Mario De Luigi made of a
tesserae of gold, black and silver Murano glass. Glass and concrete
underline the fragility and value of nature and art.

acqua alta (tide peak) chamber

Colour relevant areas 1 and 2
2

1
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Colour relevant areas 3 and 4

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