There are many references to the Japanese culture and traditions in the work by Italian architect Carlo Scarpa: the shapes and materials used in the “Padiglione del Libro“, the entrance structure to the Gardens of the Venice Biennale, the designs for his many exhibition stands, like the one for the Mondrian exhibition at the National Gallery of Modern Art in Rome, the essential linearity in the design of outdoor spaces as the courtyard of the Querini Stampalia Foundation in Venice, with layers of water in which its architecture is reflected, or the Brion Tomb itself.
“Carlo Scarpa and Japan”
November 9, 2016 – February 26, 2017
via Guido Reni 4A,
The latest exhibition hosted at the gallery spaces of MAXXI Architettura is dedicated precisely to this close connection between the Italian architecture master and the country of the Rising Sun, which will be open from November 9, 2016 to February 26, 2017. A focus on the link between the Italian master of architecture and Japanese culture in the new production of MAXXI Architecture Archives Centre Rome in November 2016.
Coinciding with the major exhibition that MAXXI is dedicating to the Japanese house , the “Carlo Scarpa and Japan” exhibition, based on a detailed research of Elena Tinacci, takes us on a journey in which projects, photographs and even unpublished documents tell the story behind of the many connections between Scarpa and Japan, its architectural, literary and historical culture. The exhibition approaches the varied materials present at the Scarpa Archives in order to highlight the key themes in his work, as recognized by architectural critics.
The proposed route through the contents of the exhibition -starting with the 27 photographs taken by Gianni Berengo Gardin at the Brion Tomb in 1972- attempts to trace all the moments and factors that influenced Scarpa’s relationship with Japan: a trip to Japan in 1969 at the invitation of Cassina, the influence of the paintings of Klimt and Mondrian, the theories of Wright and Mies van der Rohe, the Orientalist works of Ezra Pound and the Oriental Art Museum in Venice.
The Eastern influences are a feature in many of his projects, even before the crucial trip of 1969, documented by an extensive photographic corpus preserved in the Scarpa Archives, showing the architect’s sensitivity to take on new aesthetic stimuli in an original manner, in the name of balance and harmony.
The love of Scarpa for Japan is answered by the undisputed critical reviews which his work has received in this country, documented by many critical contributions, even posthumously, dedicated by the Japanese magazine industry to Scarpa’s production.