Posts Tagged ‘Buildings’

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The Peggy Guggenheim Collection is a modern art museum on the Grand Canal in Venice, Italy. The museum was originally the private collection of the American heiress Peggy Guggenheim, who began displaying the artworks to the public seasonally in 1951. After her death in 1979. it passed to the Solomon R. Guggenheim Foundation, which eventually opened the collection year-round. The collection is housed in the Palazzo Venier dei Leoni, an 18th century palace, which was Guggenheim’s home.

The collection is housed in the Palazzo Venier dei Leoni, which Peggy Guggenheim purchased in 1949.

After the Foundation took control of the building in 1979, it took steps to expand gallery space; by 1985, “all of the rooms on the main floor had been converted into galleries … the white Istrian stone facade and the unique canal terrace had been restored” and a protruding arcade wing, called the barchessa, had been rebuilt by architect Giorgio Bellavitis. Since 1985, the museum has been open year-round. In 1993, apartments adjacent to the museum were converted to a garden annex, a shop and more galleries.In 1995, the Nasher Sculpture Garden was completed, additional exhibition rooms were added, and a café was opened. A few years later, in 1999 and in 2000, the two neighboring properties were acquired.In 2003, a new entrance and booking office opened to cope with the increasing number of visitors, which reached 350,000 in 2007.Since 1993, the museum has doubled in size, from 2,000 to 4,000 square meters.

Since 1985, the United States has selected the foundation to operate the U.S. Pavilion of the Venice Biennale, an exhibition held every other summer. In 1986, the foundation purchased the Palladian-style pavilion, built in 1930.


Ca’ Rezzonico is a palazzo on the Grand Canal in Venice. Today it is a public museum dedicated to 18th century Venice and one of the 11 venues managed by the Fondazione Musei Civici di Venezia.

Ca’ Rezzonico stands on the right bank of the canal, at the point where it is joined by the Rio di San Barnaba. The site was previously occupied by two houses belonging to the Bon family, one of Venice’s patrician families. In 1649 the head of the family, Filippo Bon decided to build a large palazzo on the site. For this purpose he employed Baldassarre Longhena, the greatest proponent of Venetian Baroque, a style slowly replacing the Renaissance and Palladian architectural style of such palazzi as (its near neighbour) Palazzo Balbi and Palazzo Grimani built over 100 years previously. However, neither architect nor client was to see the completion of the Palazzo Bon: Longhena died in 1682, and Filippo Bon suffered a financial collapse.

The design was for a three story marble façade facing the canal. The ground floor rusticated, containing a central recessed portico of three bays without a pediment, symmetrically flanked by windows in two bays. Above this the piano nobile of seven bays of arched windows, separated by pilasters, above this the “second piano nobile” was near identical, and above this a mezzanine floor of low oval windows. The slight projection of the two tiers of balconies to the piano nobili accentuate the baroque decoration and design of the building. The palazzo today follows this form, although it was not finished until 1756 by the architect Giorgio Massari, who had been brought in to oversee the completion of the project by the new owners – the Rezzonico Family. Massari however, seems to have adhered to the original plans of Longhena, with the addition of some concepts of his own which reflected the change in architecture between the palazzo’s conception and its completion 100 years later.

The courtyard

Above are some interior images of this museum

We visited Negozio Olivetti building designed by architect Carlo Scarpa. I mainly focused on the details and materials in the building.

Quick overview of the space

Here are some detail that interests me as the way they put together

This is the detail study for this building.

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The headquarters of the Banca Popolare di Verona is a building designed by Carlo Scarpa in collaboration with Arrigo Rudi, who has completed the master’s work after his death. The collaboration between the Banca Popolare di Verona and Carlo Scarpa began in 1973 and ended in 1978 , the year of his death, while the building was completed in 1981 according to the original project by the Venetian. It is located in the historic center in Verona , and overlooks the Nogara Square and Convent Lane.

Detail of the facade

Carved-in detail on the exterior

The window extend out of the facade plane

The facade is divided, from bottom to top, in socket marble, the central part plastered and lodge in steel.

Carlo Scarpa faced two issues of importance and related to each other: first, the relationship that was to be born between old and new headquarters, and the second, having part of the facade on Piazza Nogara, so with a view front and side of Convent Lane, then with a foreshortened view of the building. The answer to the first issue was the attempt to understand the building of the old location without copying it, as the new headquarters would be an extension of the old and that was surrounding them. The second difficulty conceiving of the solution found on the square as a neutral, almost flat, with a bow window as the only element that emerges from the edge of the facade, bay windows, which still loses plasticity, since the square is the front view of the preferred and furthermore is at the top. Also note that the circular windows are the offices of the Director and Deputy Director, then there is a link between the organization and hierarchy of the interior and exterior. The part on the alley instead is provided with plastic elements and effects of light stronger, since in this case the view is foreshortened, and the oblique vision enhances the three-dimensional reading of this part of the prospectus . So this is where part of the four bay windows , the massive gateway, and the cut to the ground. Despite the high plasticity of this part there is no interference with the oldest site of the Bank, as the most neutral (next to the old site) acts as a filter. Compared to that of the seat pre-existing, the facade Scarpa is lower and slightly backward, and apparently is hooked to it only at the level of the base and the socket, while the intermediate part is almost autonomous.

A practical response to the problem of relations between old and new sedation is the reworking of some sophisticated elements, such as shelves of balconies , shaped triglyph, stretch and shrink, making the thin vertical strips that have the function of runoff , connecting the circular and rectangular windows, or the band molded to the seat of the oldest Banca Popolare di Verona separates the earth from the first floor, in the new building becomes becoming the frame on which you set the lodge.

Luckily we went inside the building and got some interior shots, which will shown below.

Interior shot showing the varies of volume and the fabulous play of light in this building

The corridor is wrapped with wooden finishes, I think the use of wood is to reflect light inside of the space to make it brighter.

It is amazing how the opening is create above the door to bring light in

Detail of the handrail

Another detail shows the handrail

Windows looking inside out, I can feel the different layers of facade, the views outside are framed and light are controlled through the two layers of apertures

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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.

Above are some photos of Carlo Scarpa’s garden:

Between 1958 and 1974, Castelvecchio, underwent an important and reinstallation of the museum spaces, designed and supercised for the city of Verona by the architect Carlo Scarpa during the directorship of the art historian Licisco Magagnato. The antique arms count, reduced at the beginning of the 20th century to an Italianate garden, was transformed by Scarpa into an extraordinary morden courtyard that complements the architecture with geometrical logic and the use of both traditional Veronese materials, such as Prun stone, and concrete.

This space is both the prologue to the museum visit and a resting slong the route. Several important works in stone are also sited within the garden: two 19th century fountains, an early 13th century sarcophagus, the central rose from the medieval floor of the church of Sant’Anastasia, installed here like an emblem next to the entrance. In addition, the site contains a medieval sundial and the celebrated equestrian statue of Cangrande I della Scala.

Castelvecchio was a castle in ruins before Scarpa was commissioned to restore it as a museum.

Scarpa then used modern materials to renovate Castelvecchio, the result is a surprisingly harmonical composition between old and new.

Scarpa’s attention to details is wonderful. Here’s how he designed his own railings.

He build the stairs accommodated to left and right steps that lead towards the old Castelvecchio.

Ornate metal lattice door designed by Carlo Scarpa.