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  • 24 Edificios Dignos de Conocer

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    Eduard Zuluaga Giraldo
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    10 vistas54 páginas

    24 Edificios Dignos de Conocer

    Cargado por

    Eduard Zuluaga Giraldo
    arquitectura

    Copyright:

    © All Rights Reserved
    Descargue como PDF o lea en línea desde Scribd
    Marcar por contenido inapropiado
    de 54
    062 Introduction: Architecture as Exporience ‘Space — Existential and Architectural Space ‘The Pantheon, Rome, tly Piazza del Campo, Siena, Italy ‘Santo Spirito, Florence aly, Filppe Brunelleschi Unity Temple, Oak Par, ilinois, USA, Frank Lioyd Wright Chapel of Notre-Dame-du-Haut, Ronchamp, France, Le Corbusier Our Lady ofthe Angels Cathedral, Los Angeles, California, USA, Rafael Moneo ‘Time — The Space of Time ‘Theatre, Epidaurus, Greece Palace, Fatehpur Sir, India Soane House, London, UK, SirJohn Soane Castolvecchio Museum, Verona, tal, Cale Scarpa ‘Myyemki Church, Vantoa, Finland, Juha Leivisks (Church on the Water, Hokkaido, Japan, Tadao Ando Matter — Matter, apticity and Time ‘Temples of Amon-Ra and Khonsu, Karnak, Egypt Santa Maria del Miracol, Venice, italy, Petro Lombardo Post Office Savings Bank, Vienna, Austria, Otto Wagner ‘Barcelona Pavilon, Barcelona, Spain, Ludwig Mies van der Rohe Law Courts Extension, Gothenburg, Sweden, Erk Gunnar Asplund Saint Petr Church, Klippan, Sweden, Sigurd Lewerentz Gravity — Force, Form and Struct Baths of Caracalla, Rome, taly| (Church of Saint Front, Périgueux France [Maison de Verre, Pari, France, Pierre Chareau Exeter Academy Library, Exeter, New Hampshire, USA, Louls Kahn ‘The Meni Collection Exhibition Building, Houston, Texas, USA, Renzo Piano ‘Thermal Baths, Vals, Switzerland, Peter Zumthor Light ~ Materilty and Tacttty of Light Hagia Sophia, ltanbul, Turkey, Anthemius of Tralles and Isidorus of Miletus Chartres Cathedral, Chartres, France ‘San Corto alle Quatire Fontane, Rome tay, Francesco Borromini Benedictine Abbey Church, Neresheim, Germany, Balthasar Neumann CChurch ofthe Three Crosses, Imetra, Finland, Alvar Aalto kKimbel Art Museum, Fort Worth, Texas, USA, Louis Kahn ‘Silence — The Silent Voice of Architecture ‘The Pyramids, Giza, Egypt Paostum, italy ‘Yueatén, Mexico Cloister, Santa Maria dela Pace, Rome tay, Donato Bramanto ‘Chapel and Convent ofthe Capuichinas, Mexico City, Mexico Luis Barragén Salk institute for Biological Studies, La Jola, California, USA, Lou's Kahn aa 226 20 236 242 248 420 Dwoling — Architecture, Dwelling and Home Dogon Village, Banciagara, Mali, West Arica oman Atrium House, Pompell, tly Villa Rotonda, Vicenza, Hay, Andrea Palacio Darwin Martin House, Butfalo, New York, USA, Frank Lioyd Wright, Villa Mairea, Noormarkku, Finiand, Alvar Aalto ‘Simpson-Lee House, Mount Wilzon, NSW, Australia, Glenn Murcutt Room — The Rooms of Memory Laurentian Library, Florence, Kaly, Michelangelo Bibliotheque Nationale, Pars, France, Hen Labrouste “American Bar, Vienna, Austria, Adolf Loos ‘Schréder House, Utrecht, The Netherlands, Gerrit Rietveld ‘Johnson Wax Building, Racine, Wisconsin, USA, Frank Lioyd Wright ‘Chapel of Saint Ignatius, Seattle, Washington, USA, Steven Holl Ritual — The Form of Ritual “Markets of Trajan, ome, aly, Apolladorus |e Shrines, Nagoya, Japan Gertosa di Firenze, Florence aly Sagrada Familia Cathedral, Barcelona, Spain, Antoni Gaudi Grand Central Terminal, New York City, USA, Warren and Wetmore Vila Savoye, Poissy, France, Le Corbusier ‘Memory ~ Memory and the Lifewortd Palace at Knossos, Crete, Greece ‘The Alhambra, Granada, Spain Chapel ofthe Holy Shroud, Turn, aly, Guarino Guarini Resurrection Chapel, Municipal Cemetery, Turku, Finland, Erk Bryggman Brion Cemetery, San Vito Altvole italy, Carlo Scarpa ‘American Folk Art Musoum, Now York City, USA, Tod Willams and Bille Teen Landscape — The internalized Landscape Hadvian's Vila, Tivol, aly Katsura Imperial Vil, Kyoto, Japan ‘The University of Virginia, Charloteevile, Virginia, USA, Thomas Jefferson Woodland Cemetery, Stockholm, Sweden, Erk Gunnar Asplund and Sigurd Lewerentz Falingwater Mill Run, Penneyivania, UGA, Frank Lioyd Wright Swimming Pools onthe Sea, Lega da Palmeira, Portugal, Alvaro Siza Place — The Power of Place ‘The Acropolis, Athens, Greece, ltinus and Calicrates; landscape, Dimitris Pikionis Piazza del Campidoglio, Rome, tay, Michelangelo ‘Saynatsalo Town Hall, Sdynstsalo,Jyvlskyia, Finland, Alvar Aalto “Municipal Orphanage, Amsterdam, The Netherlands, Aldo van Eyck Sydney Opera House, Sydney, Australia, Jom Utzon Renovations and Adeitions te Monte Carasso, Ticino, Switzerfand, Lui Snozz The aa Pantheon, Rome Italy 117-27 jos footie ® dors inthe doorvny.te space darkens even further ost simltaneously contrast walls ckesing in ‘on citer side and the ceiling coming down low aver fssmosinto presence, and Exempla the Roman rt thesasenaely Joandthesquare € are employed through © Te circular or on wich we standisconsruted Stasguare gid ot gate barsanet with male te prpy pant aterm Dtwern a ark Sark spare ee whale the cone ofthe oor Nea were we sand the mere (200) thet onda lover wall consute of concrete wih stendecp sor sees en ory mating hheachnih apa ofclumast wn ind supporting the lowe conic above Oneachof theseedonol lida twee the recessed niches, Cl clumped temple om projects spily no thespace Tistower wall races covered wih theta stones osteo ini ee and Stare patterns Above thi the cing al Poplars and shallow openings jt beat Thceorne,thadowed horton in of projecting one at cet space a the batom the hemiphesel done “OA sphere ofthe diameter of etre ec or 190 Roma et canbe pect sre win thedome ofthe upper bot he room, and iihawer tai were complete, wed ust touche or Tosoppon ti unprecedentedapas the bales sed ianteight vole poms athe aazeete inthe ‘india walls where they used heavier an stroagr Uavertine and ta the lea limestone In entrant tothe varied colours and forme that chardteiz the wall below, the interior surface ofthe dome is mae ure, andthe even, ale grey ofits smooth plaster su Face emphasizes the shadows cast upon it Te interior surface ofthe domes structured by the horizontal {and verica lines ofthe square cofferng composed (fa seis of inset recesedsquate frames, and angled ach that hey appear tris higher above the floor than actualy the case The square offering ofthe dome, beings in dynam ever-changing sr, complements the square stones ofthe Moor belo, hich are et ina stated The grid the offering acsinwards and gradually diminishes asi ies towards the oculusan enormous mete 27-foa) tide 1 S-metre (Soot) deepeirelar opening st the Toot through which we eansee the ble ofthe sky ind the outlines of paring loud Though this oul tho light of the sky dimly iluninates the space witha general diffuse low “Thetypcaly abundant dretraysof the sun stream, spt of iin light. the movement of which allow ‘hernhabitantstopereave the time of day andthe Season of the year: Aste day proaesses the ova ‘of sunlight moves down the grey coffered dome, slong he marbled wal, slowly sweepingacror the coloured stone oor, and then backup the was and dome, finally disappearing asthe sun pases below ‘theorizing, leaving only he sit ight of dusk im the space Even more mysterious isthe experience of heavy ain in the Panton, when the space only Fail ominated and wa itl ight ere appears tow in withthe ran ei pours through the oculus forming igh elim of water that alls int the centre of the rom, disappearing into the small drains provided inthe pavement trey forming» iaphanout connection ofearth 0 ky | Piazza del Campo, Siena Italy 1262 Santo Spirito, Florence Italy 1428-36 Filippo Brunelleschi te Renaissance desir dealioed throught careful positioning tthe chorehat the end of ts pinzen, and hs ee ofthe church above the surrounding rou level o the broad entry terrace. snd dome ahe Stand ofthe eu Tormitis al and trial ‘module The module sestalshed bythe distance ually sense thatthe space ad structure ha ita the dome isk modules iachet)in length Inadditon, fganizeandstructun ‘on which we stand, The square the 1 Braceiamedle, snirdpoymetina two enc poperional ing inthe unfston of numerous suring the space anitsconstituent elements wth ourown bods. Aswe walk down the space af the nave, we immedi sel fel ouaclvesscling our steps tothe dimensions othe structural bays pacing ourselves ime tothe tempo othe colunas the proportional module of thespace. © Thisspatil module is highlighted by the eaping of each aguare bay a te side ses with ‘domed vaulting each hemispherical ceiingearried bbypas of aches bearing four columns two agin! the ouside wall fwo tthe naveedge. AL the topo the naveabove our esd the precn-aey stone arches springing fro column to column ear the white pster upper wal, opened above te enteof the lrches with il cleestory window and on which ress the facing ‘Buta the Boor amid the forest eolumas in which we walk hove ae 0 Nt walle enclosing the Space we iahait The oster walls ofthese ales Have embedded half-clumns alized wih, matching insze and joined by arches othe nave colurns and, betwen the colin emia, white Paster Walled chapels are opened. These earvingctapels tre all modulein depth andare topped by 3 hal-dome cling te profile of which = defined by te arch that eps from coli to colu, matching those along the nave, The concave chapel curving ‘outwards andthe alfcolums between them, curving aac convex outer srface, making impossible ‘cvalate the thickness ofthe outer walls thatthe ‘Hrctres na longer appear as material substance, batonly as anartculation of spatial entity es Giovanni Fanelli nas wien’ Ava tesul ofthis “ndlating ovter wall he space ofthe church seems topulseinand out withthe columns standing tl The calms which wrap alte way around ‘he ental crbilrm sped interior of tech articulate the fundamental oer ofthe space — the tythmie repetition of single spatial module— both as actual stractral support andas spatial structure: The continaous ine of olumn ony brie interrupted atthe erosing, where Braneleschi laces four square piers that ee othe spring point of the arches supporting the ental Jome- © Here tte edge of the casing we are able tose behind these piers through the spaces of theses to take inthe entie width ofthe transept and from his ‘ewpoint the forest of columns appearsta expand ‘of space. bright light from above draws our eyes up the vertical an pst the four arches to the dome, which ie perod wth round windows at its base ind has twelve stone ribs that arcup to the crcl of light atthe cupola, Standing here, the ipl space defined by the hythm of the columas and bounded bythe undaltingchapel comes awards us rom all At CA “nen? four aiectionsand ths horizontal terrestrial crossing istised withthe vertial connection toheaven that, iethedome Earth nd heaven are united in hie ‘mundi and the spac ofthe church seheves tran ‘cendent character only ver ately found & Unity Temple, ak Park Illinois USA 1905-8 Frank Lloyd Wright aan == theimeror— sere cothischaracter.andinour _ inwarsotat the spac is spit folded redireted the aguate dee out ofthe One a preg ertl pita f To-Saetres (6 ee) the width ofthe space (actly rm tripping that on the : folding ofthe ttrior surfaces constructs asm ith Notre-Dame- du-Haut, Ronchamp France 1950-5 Le Corbusier + iatiesate meitation and spiritual eo om tin The chspelmay be ‘when approaching anit slow ‘mb theillon which ite le Wi ofthe balding anchored to the west hy a said ol and curves out presence ofthis heavthick root dominat. alngthvoup theo diferent stucco faced walls beneath To the north and wes, where he strong vertical ight othe chapels pours Into the pace, the joint between the wall andthe Toofisdark, but othe east and sou, ominous ie of ight ans allthe way along the tp af the wall and we can se the roof extending over the tralltothe outside The sare rom this right ine flight between the wallsand roof makes tific todisceen the small shadows the nae, widely paced concrete per reaching up tocrey the weight of theroof ands reultthe massive concrete arsto be havering unsupported, jus Above the wall, Facing the ahartothe as, tothe tthe omezete pulpit pro >the opening tthe ea rallspered with iy, right © the massive, thick angled sont it sopened with numer ‘us rectangular windows cach with steeply beveled urrounds Rising to meet the fof ats highest point {nthe space this complexy perforated wallisttongly ‘uminatedythe south sua throughout the da, fan the dens, hick laminonty ofthe wall precisely ‘Sountcrponts the dak tusve wight ofthe roof ‘overhead @ The heauifaly carved ows made of lroko wood tinborsare placed to height inthe sanctuary near the thick, luminous south wall and are ftom ried wooden base, so that out feet do not {ouch the cold Noor in winter The concrete oor, rally in cvidence having been fly sublimated in ofthe bung. Inoue harmonic resonance, Our Lady of the Angels Cathedral, Los Angeles California USA 1996-2002 Rafael Moneo ° esate othe of Las Angle i as windows in any \ Stine theentry the lef where we tnd sm cath ay aa ibaa ei i (ALAN anc ee Now we also catch glimpses ofthe mae through the narrow verte! spaces that open everysooten between the chapel and we hear more clearly thesoundsof those gathered for worship win, Aivingat the end ofthe ambulatory. notice ‘ac the pater of the pa being set ina gently curving arrangement rather than inserightinesas they were before These curing linescaery ust height and into the nave The sanctuary nave, Mimetres (10 fee) de, $4 meees (275 feet lang, and sing fom L8to ipmetes (to 120 fet tl, opens ot from the bapasteryat the west wal othe monumental window the east wall. Now wesee the backs othe chapels wwe pasod a folding set of towering concsete walls matching down cach sie nd ting yp 6 metres, (20fect) past the ceiling bat together form the inner ‘boundary of the sanctuary Beyond the ine of chapel wall and high above them, we seit pouring Intothe space through the cnarmous glazed openings inthe tall outer walls athe building Asit enters the space thisliht filtered trough Baad of labaster Ipartig golden colo that whenitsrtes the, ‘an-coloued coaerete wal, aufises the pce with netereal low. The upper sections ofthe chapel wallsare angled outwand their bottom surfaces touncing the ght down into the chapel while their Upper surfaces chanael height dawn tothe now changes the stones sanctuary. @ Foatiag down into the cone ofthis Spaces gently folded cling constructed of thin ‘rood boards sein shifting pater sila to those weoted nthe paving othe amblators Noor The outer edges of the wooden oiling turn up as ‘thay meat he masiepiersike chapel wal, wich ‘isiear out of sight overheat, andthe church rot itso he outer walls reaching up tole the ght ‘pour down int he space Sitting in the wooden pews, tencath this wooden cling th scale ofthe billing ieflcively meanued and made comprehensible, ‘At weslowiy wall down te nave the floor slopes down and we reaie that te gently caring paving pattems are concentric circles whose cents the altar Atte crosing the transept wal are set back tothe sie, andthe rofsabore them it towards the conte ofthe church, co that bright light cnc oven theta back was At the tallest pont nthe Sanctuary, high above the altar athe topo the easter ‘allan enormous window is openedin the wal and ‘ling The whole openings lazed by hin bands of Alabaster set ina chevron patter, andes wo deep onerete walls one vertical and one horizontal h intersect vo form across © that hovers nthe spa sounded by ig ‘Ourexpertenceisbalancod between the massive vertical ofthe concrete wall andthe delicately Stristedsurface ofthe horizontal wood sling they support the wasines ofthe space and the ‘yt of the smal stone pavers ude our fet ‘hick solidity ofthe concrete walls andthe ethereal colour ofthe ight, which hasbeen filtered through Translucent stone; the sound of te organ ling the space and the silence of our own payers As Carlos Timenez has writen, fterexperencing the transcend ‘entspisituaity of this space, one turns tothe outer World oriod by an neable ght and ever present sound, an echo alight which everbertes vith he myeery faith Theatre, Epidaurus Greece 330 BC Anequally subtle deta sthe way ited lightly ove the lve of he fot space behind ito that one dacs not st fot on the sriee upon Taking ourseat on these massive sculpted blocks ofstone we turn and face the stage Below "Yet cather tha the human ation onthe stage i [sthelandscapeopening out inal directions which the theatre rst begs into presence for ux To or lefewesce te remains of the Sanctuary of Ask epi, toourrightrises nearby mountain peal, andin the centre, tthe north opening ott recy ae {slayer upon layer of fothills and mouatains— the central axis of he theatre aligned precisely with abrek inthe ill broad sweeping view opens before sling our entire el vison, athe cexpanseof the drunatic landscape i famed on the Teftand-ight bythe low angled outer wal fh ‘theatre, jiing the Baw shaped theatre tothe larger ‘oneavity ofthe landscape. Nature provides the ‘patil background, andthe movement ofthe sm {enporal ram forthe ations taking pice the {oveground, onthe age {in which the stage itself has been detailed to call out Tobetin the isgiven he plete and perfectform of theciele @ Unlike the restof te oor usaces ofthe theatre, the cca 'smoth surface of pounded cath The sages defines by aring of stones set into the ground sh titi arth surace,oside the arc of sats fsing the audence. shallow stone-pavedtenchs open inthe space between the outer edge ofthe rng ot Sones avound the tage floor andthe low walls a the inner edge ofthe sats andthe incr stage edges {heed witha semicelar stone band tha project oo intothe tench, Te bottom ofthis curving moulding ‘ost init own shadow so that the dic ofthe earth flooredstage appears to float slightly above the bottom athe stone paves trench that sirrounds ‘Sitingin the theatre, we fee the stones ofthe ath beneath use fea the warm sun cn out backs and we fel the gentle dry breezes on ou kin. ‘When someone stands onthe ste that marks the cenite of the stage below, and bins to speak, we hear to astonishing acoustical qualities ofthis space Thovigh out of doors and open tonatue sounds are sacttextvely projected this space tha, from te top rowof seats one san heat acoia being dropped, and, ‘without being razed the human voice xis clearly throughout the theatre. This remarkiy resonant space isondered hy harmonic geometries caved from the bones ofthe earth an opened tothe dant human fe worl and the nara indscape, oreo fraphed tothe rhythm of the sun's movement Ane heats Yale profesor Vincent Selly has ‘writen, the wile vibe universe of comes together in asingle quiet xder Palace, Fatehpur Sikri India 1569-85 a Te palacebult by Akbr the Greatat Fatehpur ofthe3metre (100! spacing of the columns the caravans hkerseneirandotbermsjrsorare tation win the lage inthe walled pes te = ‘Win he ony the plans ofthe mosque and theshaows cast thes, ander consent | Xv n ‘the palace are oriented othe cardinal directions, marking of our relation to the cardinal directions | “ ingthe emperor close eation ith the The columns beans wal and perforated screens | ii eo y ‘etwhle the moseisaparerectan- ofthe lings ad areadcaas elas the courtyard | . e i de slr formin plan shaping: single couryarthe Boorse eostrated finaly carved sa of > ey x fies composedafa more osely organzcdseies loa edsandxone ing the whole ace fear pos « Sfrectangular courtyards that step lagna along ably used charecer The redsanstne foro he : te topoftherdse Theeatepalceiswalld, — palcelstased and lowered to rece ase low v ‘rea privateinnerworpace spat bln and cours isstepped tracing of he : oa {© Within te place wend unelvesiaacom- rounds found oh nian ouside weaving ec piety tallopen ogee the ene space fhe pala ncorporated ; the goundby arades ough wiih we move rom nfobut hecourtgaro rsa the sete ‘xteiorsunght to inrior shadow ond back aia, ngs was anclborat sysem of ean toh oursenseoftine aerating etwcenslowsndtat| whch water ws dtbuted aroughou the pla | The uni courtyrdrscer nmense and enh ‘hich inthis ot dey cma provided oth aca andtake long tine ocraswbcrestheshaded_andecsal bees Testo hesin havea, srcadesandbuldngsatthecdgesof the courgands ingly iletect onus inthe ylac oigtmgeed seemsmalan dmesicin sealoffering ol the byte coling bee zs tha ow continu Oued Brot pases The plas bexpecencedssasinik thslrpel pars suctte labyrinth and eachcoutyscd dies fom the next The two most nportantspacesin te place, inszeshapeand the character ofthe buildings that Akbar residence where he peat his days andthe formitsothatwhen we movefom one tothe next. _harem.wherebesiopate cated ina complemen \wehaveto reorient oursevesseekingthe order ofthe tary aanner, © The area the mos ermal svally Space in which we now nd ourselves What remains symmetrical space within the place iscompased j reforourmovementstberythm ofaseries af thick-walled roms surrounding aby <> being the entirely arcaded,ve-storeyPanch Mahal, hums atitscorers. @ The tlet structre in th pale this diaphanous colonnaded pyramid of pace i where the emperor withdrew to contemplate ad twanverse wih eadersof the ve ons during his reign. When we stand althe top ofthe the extended viewsinalldiectons we fe! stron has asquae plan building, 141 woworeystall buildingin the plac. its2 metre the conte ofeach sie and lead gto thes metre ath stands single oe eal, which, at ues fom the finaly ielar.Above ths the clin caries epping layers eatin erpentine eckel which ty narrow ridges to he four comer the tank inthe courtyard ofthe residence, with it four bridges only now we ae standing not on the bridges shove tin the deep pool ofcoo shadow beneath alls and deep black shadows surrounding ses ‘Submerged in the thick, dark depths of this room, we withdraw fom he word and time sands sil Soane House, London UK 1792-1824 Sir John Soane ‘he walls are opened with various arched niches Thelorary and the dining oom both have at ceings into which paintings have been inset, andthe boundary between the rooms is marked by a projecting pero clthersde atthe font edge of which four metal posts ‘Suppor the double-ayere,triple-cerved banging ‘arches that separate the two cells, Almoxtl the Surfaces ar et away and revealed tobe halow or ‘pen tobeyond, creating a sense of transparency aod iutipiaton of views thats incensed by te large Ineo set between the two windows ofthe ibrar. and the tall narrow mirrors inset nt the pce tt separate the two rooms For those visitors lost in thisncreaingly complex layering of space Soane ride smalsinsin te pers hetween the bry nd ining oom that cadet and west The din ‘oom sopened by avery large square window that, rises up tomeet the eins ooking on tothe internal “taonument cout, andthe corners othe room ahve pairs of wooden doors suggesting i opens imalldiections Passing through aneof these doors We the breakfast room, A domed celinghovers over this ssall oom flesting way fom all four wall and AAministutecapoa skylight opens ats centre. In the tall arrow hll-ike spaces on the northand south ‘ends ight falls into the breakfast room fom skylights far above: illuminating the paintings hung onthe wall, The east wal ofthe room is angled out and atts ene alarge window, which rise above te outer ‘court In ation three ofthe four walle ofthis room ate opened atthe corners giving views into theadjacentspaces and light cours x0 ha ight ‘enterthe room from every direction. Thiveffect is multiplied by the creular convex miron stint the ‘comessand edges the celig and bythe double ‘itror over the benrth rere large famed mitror projects forward ot of ts mirored ssound, Iscems that every inch ofthe wll races opened either ya door or window, or by mirors or bythe Architectural dravingsand paitings packed on th walls allowing views both real an imagined, ‘Drawn by the strong ight ofthe long sky ht and the view of architectural fragments suspended inspace, we step through the door in the noth wall "We ind ourcves standing on the narrow edge ‘ofa three-storey space opening both down (oth basement, where a large Roman sarcophag stands, ri up tothe oot far above, wheres arge domed Skslight eapsthe space. @ Light rom the skint acades down the iner andl outer wal, which a fled rar top to ttom with hundreds of architectural fragments mouldings column shafts and capitals comics carvings vases. tras model busts snd statues al ether orginal marbles or Plaster caste made fom fam ilies of nsgiy This densely compacted and layered collection was caeflly ordered an postoned an two levels by ane and anges rom he dramatically urinated toe iby eseries of sal skylights tothe near ‘Soane place the most remarkable space inthis house atthe end of our meandering promenade The picture room'or painting gallerys asquare ‘oon, half again a tall ati wide the cling of trtich sited as alantera, with ighteomingia through allclerstoy windows on he north, we forth tosouth at the cente ofthe room, Below the ‘erestris, the four wallsare completely covered ‘ith age paintings of arcitestare from throughout history = nterior and exterior spaces shown in penpective, © The room isnot ts fxed ast st Spears and ican be lterally unhinged by swinging thee ofthe wally mich pivot fo reveal ntngs both on the back of te swinging wall and fn the second wal behind ~ thre layers inal The outermost south wl also swing outwards into the upper part ofthe two-storey monk's parlor whichis it by kotha skylight above and alarge ‘window nt themonks yard t the south. with is pivoting layers of ews of buildings dant om usin bath space and time, windows pening on allsde ther period and places or walking through the deeply shadowed aarow passage ofthe olonnade and eryp,onishing tess the ramen tfancient architecture on llsdex with he fin Hight ofthis house, antiquity is brought neat tous and Castelvecchio Museum, Verona Italy 1956-78 Carlo Scarpa - itswalls lain non-epeating pate aun stone, pnk-white which lterntte between oath polished We re sour path swell as aroundthe lors oute ‘the base of the white, rough-plastered walls Each of shtecturl fragments, small inks Each atetacts precely positioned in is own Bracket o stand nique nd unlike any ofthe others The sculptures ae arranged inform groupings carefully pice t catch the 2atural light tha! brags thom to iso tat when We ‘going conversation among them, ito the floor, surrounded by wooden rails that swing at our touch, and through which we can see the Roman ruins beneath the bling, uncovered during conarucion. We walkthrough large woven steel fnteand. pivoting las door an then down winding eps ade oflarge interlocking slabs of tone foreach the exterior covered pave ting and he bridge High above our heads she statue CCangrande, which acs as sata pivot for teenie ‘museum, Walking beneath the roadway ofthe iver seton rick riere which brings st the painting talleries onthe fr side of the ridge. ere the oor ‘Sof wood which reaks beneath tr feet, the walls ae of white plaster andthe eelings are ancient faved and coloured wood heams. © The pntngs are mounted either on custom-designed stecl and mes each complementing te panting the not inate ifthe aris had "

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