The use of the light in Carlo Scarpa’s Brion Grave (San Vito d’Altivole, Treviso, 1970–78) allows to lead some reflections on the value of the representation, in comparison to the realization of the masterwork, and to its interior architecture. With regard to a historical excursus that progressively aims to the control of the light by the sketch (as writing of the design prefiguration), or through the arts (as writing of symbolic meanings), in the Grave Brion architecture, the completion effected by the light requires the presence of the man, as an experiential subject that can enable the total overlap between architectural work and its extemporaneous representation. In front of this performative appearance of the architecture, an aspect that has been programmed and predisposed for the user, the man becomes conscious of an aesthetical process. As a result, thanks to the transcendental value of the architectural experience, the physical and the metaphysical scope of the man are linked together.
Extemporaneous Handwriting. Writing with Light in Carlo Scarpa’s Brion Grave / Centineo, Santi. - STAMPA. - 1140:(2020), pp. 739-749. (Intervento presentato al convegno 2nd International and Interdisciplinary Conference on Image and Imagination, IMG 2019 tenutosi a Alghero, Italy nel July 4-5, 2019) [10.1007/978-3-030-41018-6_60].
Extemporaneous Handwriting. Writing with Light in Carlo Scarpa’s Brion Grave
Santi Centineo
2020-01-01
Abstract
The use of the light in Carlo Scarpa’s Brion Grave (San Vito d’Altivole, Treviso, 1970–78) allows to lead some reflections on the value of the representation, in comparison to the realization of the masterwork, and to its interior architecture. With regard to a historical excursus that progressively aims to the control of the light by the sketch (as writing of the design prefiguration), or through the arts (as writing of symbolic meanings), in the Grave Brion architecture, the completion effected by the light requires the presence of the man, as an experiential subject that can enable the total overlap between architectural work and its extemporaneous representation. In front of this performative appearance of the architecture, an aspect that has been programmed and predisposed for the user, the man becomes conscious of an aesthetical process. As a result, thanks to the transcendental value of the architectural experience, the physical and the metaphysical scope of the man are linked together.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
