{PRETITLE} Carlo Scarpa {POSTTITLE}

Rating: (3 reviews)
Author: Robert McCarter
ISBN : 071484800X
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Format: PDF

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The definitive monograph on a celebrated Italian architect, Carlo Scarpa includes more than 350 photographs, sketches, and architectural plans, along with in-depth ?walk throughs? of over 15 key projects such as the Central Pavilion in the Giardini of the Venice Bienniale, the Olivetti Showroom in St. Mark?s Square, the Canova Museum, and the Brion Cemetery. A cult figure with mass appeal, Scarpa was heralded by architectural luminaries such as Frank Lloyd Wright and Louis Kahn. Today, Scarpa's work is more relevant than ever.

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• Hardcover: 288 pages
• Publisher: Phaidon Press (September 30, 2013)
• Language: English
• ISBN-10: 071484800X
• ISBN-13: 978-0714848006
• Product Dimensions: 11.6 x 10.1 x 0.9 inches
• Shipping Weight: 4.2 pounds (View shipping rates and policies)

{PRETITLE} Carlo Scarpa {POSTTITLE}

My first reaction to the format of this book, while not as severe as B.Olson's critique below, was to be taken aback by Olson's same observations. Yet on spending time with the book, I quickly not only got accustomed to its quirks, but came to appreciate them in the context of the subject. In other words, what at first seemed overly mannered (not just the odd but in practice relatively workable spine/hinge, nor the also odd but, in readings, content-enhancing bold print, but oddities such as indenting the first two lines of paragraphs) I came to see in compelling ways making deference to an architect whose work is so profound that, as author Robert McCarter makes poignantly clear, it defies academic, formal explication.

Since discovering him forty years ago I have bought and have read every word I could find in English on Carlo Scarpa, and partly due to the aforementioned opacity of the work stated by McCarter was skeptical of yet another treatise on him, by an architect/historian who I had not heard of. But from the first few pages I was absorbed in McCarter's knowledge, research, and crystal insights into this mystical opacity. (Opacity in Scarpa's instance being far from pejorative, but a gift for anyone who will approach the architecture with a sense of history, mind and heart.)

McCarter serves Scarpa well, and has given at least this longtime student of The Master a wonderful gift.

(P.S. to B. Olson: though I am as stated above not unsympathetic to your criticisms of the physical book itself, I would urge you to reconsider giving McCarter's work a one star rating, which at first glance - one of the misfortunes of the Amazon rating system - gives the casual reader of the reviews a negative view of a work of scholarship that you seem to in fact admire.)

By Huddie

McCarter presents 15 projects in reverential detail. Roaming through the predominantly interior spaces (ordered somewhat chronologically and by poetic themes), we begin to understand Scarpa's philosophies: his conviction that building museums was more rewarding than skyscrapers, it was easier to work with fixed limitations, art was best viewed in natural light, layers of history were not be demolished but revealed, material transitions were to be celebrated and Verum Ipsum Factum - we only know what we make. Beams, joints, apertures, seams, edges, the functional should be beautiful.

McCarter explains repeatedly that the only way to truly understand the work of Scarpa is through "experiential engagement." This monograph is the catalyst to get us to go. Maybe when in Italy, being seduced by the saturated jewel colors of the Venetian plaster at Banca Popolare, or perhaps standing on the first floor of Querini Stampalia surrounded by an interior moat of splashing water during aqua alta, or sensing the intimate love between husband and wife as their sarcophagi incline together at the Brion Cemetery, we will feel what Scarpa saw.
My complete review on The Curated Object: http://bit.ly/Scarpa_McCarterCO

By J. Locktov