A greatly expanded version of the author's 1990 work, this book not only analyzes Scarpa's personal language of architecture but also sequences his drawings, revealing the complex history of the Castelvecchio Museum in Verona.

The Castelvecchio in Verona, renovated between 1958 & 1964 as a museum is the best known project of the Italian architect Carlo Scarpa (1906-1978). The author, Richard Murphy, traces the initial ideas as represented by Scarpa's beautiful yet incisive sketches, through the various stages of work to building completion. Numerous drawings by Scarpa, many illustrated in colour, are supplemented by Murphy's own superb measured line drawings, which accurately show the full realisation of Scarpa's building as it stands today.

During the 1960s Italys museum sector witnessed a fertile period of renewal. A generation of architects, working in partnership with the directors of museums, set about transforming into exhibition spaces a number of ancient monumental complexes located in the historic centres of some of the most important Italian cities. Among these was the brilliant and solitary Venetian architect Carlo Scarpa (19061978) who revitalised the discipline of museography by sagaciously combining it with restoration. His lucid intervention at Veronas Museo di Castelvecchio is emblematic of this approach: the medieval castle, the museum of ancient art, and modern architecture all harmoniously coexisting in a monument located at the heart of a city designated a UNESCO World Heritage Site. The far-sighted choice of Scarpa was owed to the then director of the museum, Licisco Magagnato, who tenaciously argued the case for the appointment of an architect specialising in this field to work on the citys principal museum of ancient art. The renovation work, which continued for more than a decade, took place in various phases (19581964, 1967 and 19681974) but in accordance with a remarkably consistent and coherent plan. In his work on Castelvecchio, carried out at a significant point in his career, Scarpa attained a remarkable balance between different aesthetic elements that is particularly evident in the sculpture gallery, where the renovations harmonise with the power of the 14th-century Veronese sculptures exhibited in this section of the museum. One of the most striking details is the location of the equestrian statue of Cangrande I della Scala. For the presentation of this work the architect conceived a backdrop of great poetry, drawing the visitors attention to its historical stratifications and simultaneously creating an exemplary essay in modern architecture. This museum is the most perfectly resolved of Scarpas works in terms of the complexity and coherence of its design, and today remains "outrageously" well preserved. It is therefore unsurprising that a photographer-artist such as Richard Bryant should have been attracted by the extraordinary compositional, spatial and luminous harmony of Castelvecchio. The book is introduced by an essay by Alba Di Lieto, the architect appointed to Verona City Councils Direzione Musei dArte e Monumenti, a scholar of Scarpas drawings, and the author of monographs on his work. She describes the architects renovation and locates it in the context of Italys architectural panorama. She also offers insights into the cataloguing of Scarpas graphic output in the context of the overall conservation of his work. The essay is followed by a brief history of the castle by Paola Marini, who was the director of Veronas civic museum network for 22 years. The essay is followed by a brief history of the castle by Paola Marini, who was the director of Veronas civic museum network for 22 years. In December 2015 she has taken on a new role as director of the Gallerie dellAccademia in Venice the first of Scarpas museum projects in 1949. Valeria Carullo writes in her postscript about her experience by assisting Richard Bryant in photographing the castle. She is curator of The Robert Elwall Photographs Collection in the RIBA British Architectural Library. Richard Bryant is one of the best-known architectural photographers, working all over the world. He and Hélène Binet are the only photographers with an honorary fellowship of the Royal Institute of British Architects.

The acclaimed survey of the life and works of the celebrated Italian modernist master, available again in a classic format The work of Carlo Scarpa challenged, and continues to challenge, accepted notions of modern architecture. While several books have been published on his work, none has approached the breadth and depth of this monograph by Robert McCarter, who is celebrated for his meticulously researched, experientially based, and jargon-free accounts of key figures in modern architecture. This book is the definitive study of Scarpa's many accomplishments, including such works at the Canova Museum, the Castelvecchio Museum, and the Brion Cemetery, among others.

Architecture in detail.

Between 1953 and 1978 the Italian architect Carlo Scarpa produced an incredibly varied range of works that challenge our notions of what modern architecture might be. Foremost in that work was the need to reconcile a wholehearted embrace of the new with the longstanding traditions of local craft and of universal practice to create an architecture that would clearly express its own machine-driven times without abandoning the psychic and sensual forces of place, materiality, and memory. Carlo Scarpa, Architect: Intervening with History illustrates, through abundant reproductions of Scarpa's drawings, the ways the architect created a dialogue with light, space, and architecture within the historic fabric of Italian cities. Presenting these projects as they exist today, the patient eye of contemporary photographer Guido Guidi deepens our understanding of this timely approach to architectural dialogue.

Briefly traces the life and career of the Italian architect, gathers his drawings and shares his lectures and opinions on architecture. This volume documents the complete works of Carlo Scarpa, one of the leadig Italian architects of the twentieth century. There are over two dozen essays by leading architects and architectural critics, including Bruno Zevi, Vincent Scully, Arata Isozaki, and Christian Norberg-Schulz offering an extensive overview of Scarpa's life and career as well as lucid interpretations of his architecture.