Castel Vecchio Museum, Verona, Italy

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Castelvecchio Museum (Italian: Museo Civico di Castelvecchio) is a museum in Verona, northern Italy, located in the eponymous medieval castle. Restoration by the architect Carlo Scarpa, between 1959 and 1973, has enhanced the appearance of the building and exhibits. Scarpa's unique architectural style is visible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork.

The museum displays a collection of sculpture, statues, paintings, ancient weapons, ceramics, goldworks, miniatures and some old bells.

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Castel Vecchio Museum, Verona, Italy

  1. 1. Castelvecchio Museum, Verona, Italy
  2. 2. Digital Model
  3. 3. CASTEL VECHHIO MUSEUM OF ART, VERONA old Scala family Castle.
  4. 4. The buildings sits on a site by the Adige river at the edge of the old city of Verona.
  5. 5. A journey through history  It was built between 1354 and 1356 by order of Cangrande II della Scala, during medieval Veronese period.  In 1404, the city became part of the Venetian Republic. The castle was used exclusively for military purposes, as a weapons and munitions warehouse.  In the 18th century, it became Venetian military academy. In the 1797 revolt against the French, Castelvecchio was used as a barracks  The Napoleonic epoch marked the beginning of a radical transformation of the existing structure.  This building, in neo-classical style, continued to serve a military function in the Austrian epoch.
  6. 6. Only after 1923 did the castle cease to serve an exclusively military function. It underwent a dramatic structural change, following plans by Antonio Avena, director of the Civic Museums, and the architect Ferdinando Forlati: the reconstruction of the swallowtail battlements, the insertion of late Gothic and Renaissance decorative elements in the facades.
  7. 7. Beginning in 1957, under the direction of Licisco Maganato a new organisation of the entire building was planned, to restore the value of the notable historical and artistic patrimonies. The task of restoration and museum installation was entrusted to the architect Carlo Scarpa, whose highly original solution is universally recognised as one of the finest examples of museum renovation of post-war Italy. The conversion by Scarpa was designed and implemented between 1958 and 1964 Carlo Scarpa was an Italian architect, influenced by the materials, landscape, and the history of Venetian culture, and Japan.
  8. 8. Carlo Scarpa's legendary Brion-Vega Cemetery, Italy
  9. 9. Ottolenghi The Villa was designed by Carlo Scarpa in the final stages of his career.
  10. 10. About Castelvecchio Museum It hosts a fine art gallery and collections of ancient artifacts. Castelvecchio boasts imposing walls and vast towers which lend a magnificence and sense of raw power to the castle complex.
  11. 11. Castelvecchio fortress was a testament to the power of the Della Scala (Scaliger) family who ruled Verona in the 13th and 14th centuries.
  12. 12. ABOUT RESTORATION WORK:
  13. 13. Castelvecchio art museum provides a foundation for a study of museum space as a symbolic form.
  14. 14. The symbolic function of the museum bears on three aspects of spatial arrangement: -building layout, -the positioning of displays within the layout, & -the structure of occupiable space By structuring the visual field, the patterns of accessibility, connection, separation, sequencing and grouping characterize the arrangements of displays Exhibition layouts affect the manner in which displays are perceived, compared, and cognitively
  15. 15. When Carlo Scarpa started his restoration work in Castelvecchio Museum, the old castle had already gone through more than 700 years of alterations. Having always been a military building, it had been rebuilt, modified, altered according to different ages and needs. In 1930, Antonio Avena, director of Verona museum, restored Castelvecchio, although using a lot of "fantasy" in doing so. In particular he rebuilt the main facade using Venetian gothic mullioned windows, coming from buildings destroyed in the 1882 flood. "In Castelvecchio everything was fake" said Carlo Scarpa during a conference in which he explained his project. Carlo Scarpa then decided to state openly the falsity of Castelvecchio main facade making it into a kind of stage set.
  16. 16. He left the main facade in gray rough concrete, with the door and windows frames pulled back so that the gothic decorations look like the thin board of a theater stage set. Carlo Scarpa placed the real entrance on the left side, half hidden by stone screens.
  17. 17. As you enter Castelvecchio Museum, you realize the revolutionary display approach of Carlo Scarpa. . Here his ability in shaping materials, light, spatial arrangements and colours like an old artisan is evident. Sculptures are placed on platforms slightly raised above ground by a central support, so that they seem floating in the space.
  18. 18. The gothic sculptures in these rooms, come from churches which were destroyed by floods and earthquakes, and were now out of their original historical and architectural context. With this floating effect, Scarpa wanted to make them absolute objects. The only tie to their original setting was light, coming from one side of the room as if inside an old gothic cathedral.
  19. 19. Inspired by Japanese architecture , the opening on the floor showing various centuries construction layers of Castelvecchio.
  20. 20. Scarpa wanted to decontextualize and put the work of arts in a neutral space. The floor is made of a particular kind of stone, with an opaque finish that absorbs shadows. The wall, with its particular raw finish also reduces reflections so that sculptures, paintings and the spectator too seem to float in a space.
  21. 21. Spatial and expressive relationships between statues
  22. 22. The sculpture gallery comprises five rooms, the rooms are devoted to sculptures from the early Christian and Romanesque periods through to the 14th and 15th centuries, which originally stood in the basilicas of Verona. The rooms are of a similar size, skewed square shape and axially connected into a single linear sequence.
  23. 23. Sculptures are free standing in an apparently free arrangement, suggests no particular viewing sequence or pattern of exploration. At the threshold into the room, visitors have an overview of all the sculptures but do not see any of them frontally
  24. 24. Arrows attached to statues represent their orientation
  25. 25. METAL STAIRS: In order to access the tower, a stair needed to be added. But that stair could not pretend to be built in the 14th century – that would be dishonest. And so the stair must instead be a subtle but clear statement of the current time. Each of the stairs in the Castelvecchio in an experiment in materials to reconcile the clearly new with the ancient.
  26. 26. METAL STAIRS:
  27. 27. CONCRETE STAIRS: The loggia space is narrow and low with a more private and intimate feel, which justifies the tight stair as an appropriate transition space. Carlo scarpa, the architet, again forces a very conscious experience of the stair with the different angled treads. Yet the angle and lengths still allow for a natural movement through the stairs.
  28. 28. THANK YOU

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