One of the purposes of this blog, besides communication with some people I know and respect and possibly engaging few more people around certain ideas I like to explore is quite simple.
In case I am being struck by something on the head, and my long-term memory is hopefully short-term affected by the trauma this could be one of the band-aids.
I hope a diary of recollections of things that "made a spark for me", will help to reconnect enough synapses to rebuild some memory and consequently to "restart the engine".
And if my short-terms memory goes, oh well, who needs to remember last weeks' snow or yesterday's breakfast...
This is the little book by Taschen that I love and made me seek more about his work.
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| from thesnapassembl.com |
He combines wood and concrete in such a way that mere concrete is elevated to a state of nobility, it binds together with wood or metal like precious stones set in silver and gold.
Both pics show interior of Olivetti - the manufacturer of typewritters.
I was using one and I remember it very fondly, for those readers who don't shave yet - the typewritter was this implement for writing, before computers but after the fountain pen.
In both he was an artist and a true son of the history of art.
All the colour and texture, the deepest flavour and aroma of old paintings, murals, scraffiti was there.
In the drawings and architectural design also evoked the subtlety of lines, of composition and above all: the magic of natural lighting of Old Masters.
This device of "reversed" window is completely astonishing. He repeated the metal-framed angular element of the display cases and framed the view of outside, with all the natural lighting coming form it as a display case itself. Brilliant.
He was able to tease the light into the space by arranging the space or situating object, or introducing openings in such a way that as only the greatest sculptors could do - he would lead this light and the light would obey his command. That's what makes him artist, not just an architect.
Above this, his architectural, or concept drawings are absolutely exquisite - he surely studied the drawings of the masters, and Da Vinci's plans and sketches. He managed, with complete functionality and authenticity, to distill the beauty of the drawing sheet.
I looked for a quick image link online and someone shows his photo with a witty comment:
Carlo Scarpa …"He had a very clear understanding of the coolness of bearding AND smoking…and sometimes, at the same time!"
