Tomb Brion Carlo Scarpa Essay Example for Free

Tomb Brion Carlo Scarpa searchThe Brion family bought the 68m2 strip of arrive, in the cemetery of San Vito dAlitvole. Later when he died, this plot was extended into an L-shaped plot of land 2200 square metres. Scarpa had lay out his Pyramid after being commissioned, It took ten years to construct and in the knead Scarpa drew 1200 drawings for the Tomb. (Carlo Scarpa a Profile, 1996) POETIC ARCHITECTURE By paying close attention to detail and con typefacering his designs from both perspective possible, Scarpa has readyd a tomb with magical and transporting qualities. From reading and seeing images of the architecture, it feels same Scarpa has bring outd a living, brea switch offg, growing path crafted by using a continuous architectural language. Sculpted from his knowledge and experience of Italian views on life and death, Christian faith and a respect for cultural traditions of the Orient. Combined, they have come together to create a poetic masterpiece. Using his un derstanding of nature, human understandings and materials Scarpas tapestry woven from countless myths like human memory, without beginning and without end (Saito, 1997, p. 16) is realised. WALLThe site has a 230cm wall built around the site, which slopes to a 60-degree angle, which the inner site has been raised by 70cm and covered with grass. This limits the view of the observer, taking t hem away from the mundane sights of the village, creating seclusion. Its an internal space that represents the joining of the living and the dead world. This theme runs through all of Scarpas architecture. Ennio asked Scarpa to progress one area of the wall lower this can be found on the left-hand side of the entrance wing, this was one of only two things that the Brion family asked to have changed about the design.In an interview with Mr. Ennio Brion, the son of the Brions explains We had chosen this site because my father wanted to be buried along with his fellow towns-people and having such a high wall between them would have created too strong a separation (Saito, 1997, p. 152). CIRCLES Circles are found all over Scarpas designs. The intersecting circle at the entrance wing is a theme provoking sign as you enter the space it acts as acts as an intermediate passage before entering the new dimension.The symbolism of a circle is evocative to any culture it brings interpretations of unity, timeless existence and continuity, all of which relate to the site and its purpose. The circlular form is also used as nodes at the ends of many of the axis. They range like a node found in biology when a new leaf grows from a stem creating a transitional point. Visually, Phillip Smith from (O2 Landscapes, 2013) suggests that they present a sense datum of renewed or redirected sense of vitality to the audience as the energy moves through the water system. VEGETATIONThe vegetation has been meticulously judgment out to be evocative, to flood the senses with sight and smells to trigge r sensations. In contrast with the solidity of the architecture, the vegetation is in that respect to compliment the sledding of time (Lanscape Australia, 1991). He demonstrated this in minute detail through drawings, how the passing of time will change the face of the site (Saito, 1997) The project challenged him to consider the human somebody, challenged him to consider how to render for the dead and how he could keep the memories of the dead alive in their final resting place. (Saito, 1997).What has emerged is architecture as most a living, breathing, growing personification of a world that is in that location, but not at the same time. open The play of light and shadow is one way in which going there offers people to beat a new experience each time. The light is said to change every instant, and, is at times, shock (Saito, 1997, p. 19) for visitors. The key feature to this is due to the orientation of the 60m2 chapel. Turned to a 45 degree angle on the east-west axis, t he orientation takes the full advantage of light coming from all sides, at any point of the mean solar day or year.Using apertures in the walls (Saito, 1997) to let the light in, Scarpa creates a world of ever-changing patterns and intensities of light inside the chapel. All these qualities vary depending to season but are planned in detail. For example, the light from one of these apertures in divers(prenominal) season causes the shadow to make one, long belt and whereas in the summer it casts a thin x-shape. What really creates the poetry however is how Scarpa take tools such as light, stone and water and through craft, brings its soul to the surface.By thinly slicing onyx and allowing the light to shine through it the soft and delicate patters are amplified by illuminating the space. The double windows located at the back of the communion table extend down to floor take allow tiny particles of light enhanced by the moisture from the pool below, to dance around the altar (Saito , 1997). The pavilion is there so the souls of the dead can use it as a canopy to examine under. (Saito, 1997). An architect would usually cater only for the human experience, Scarpa has looked beyond this, catering for the concept of a cemetery.The crank up pattern is a dominating feature of the site, acting as a method to show the texture of the material whilst eliminating the cruder side of it, a sequence of refining. He turns it into a new material with new and different qualities. Scarpa paid particular attention into moulding the concrete into a texture resembling tree bark. The zigzags also allow light diffuse and create shadows. He uses these uneven zigzags under the pools of water. In some cases he uses hem to bring out the colours and create interplay of light and shadows and in other incidences, like by the pavilion, the zigzags create the impression that is floating on the water. (Saito, 1997) TOMBS The final resting place of the Brion family is the Tomb. The sepulchr es contrast in colour creating a impertinence effect between the black and white materials. The bases are made from Carrera marble, whereas the upper part is sculpted from slabs of pitiful brown granite. This effect gives a floating impression, where tilt into another at a 22. -degree angle, symbolising inclusion body and unity. The Floating effect was to be further implied by using water, akin to Scarpas earlier works. However, the Brion family mat it too pretentious in context. They meant for the chapel for the entire village, though in reality the dominance of Scarpas architectural vision has changed this. Scarpa died just after the sites completion in 1978 and in conformity to his wishes he was buried here. He is buried in a standing up position (Mimoa, 2009). onwards his death he was quoted as saying, I would like to explain the Tomb Brion. I consider this work, if you permission me, to be rather good and which will get better over time. I have attempt to put some poetic imagination into it, though not in order to create poetic architecture but to make a certain kind of architecture that could emanate a sense of formal poetry. The place for the dead is a garden. I wanted to show some ways in which you could approach death in a social and civic way and further what meaning there was in death, in the ephemerality of life other than these shoe-boxes. (Mimoa, 2009)