THE TELL-THE-TALE DETAIL Marco Frascari traditionally scribed the masim "God lesa the detail to Mis van der Rohe" The Ger rman version ofthe adage, Der lib Gel stein Detail. perhaps the original source of Mies maxim, wat {sed by Aby Warburg to indicate the foundation of the Keonographicl method for researching in art hi tory. The French terion hat been atrbuted to Gus fave Flaubert, and inthis ease the maxim indiates 8 manner of literary production The eommon der fotinatorin these diferent forms and uses ndicates thatthe detail expresses the process of sigifiation. that isthe attaching of meanings to man produced ‘objects. The deta ie then the la where kno! ‘edge is of an order in which the mind finds is own working that lage? The ama of th papers toindcae the rle of = tas 3 generators ole traditionally aseibed tothe plan, and to show that technology, mith i double. Faced presence st wc of lg” and logs ech isthe bass forthe understanding of the role of de- tle That to say the “construction” and the “con- ltuing”of architecture ae bodh inthe deta Eiasve ina cadiional dimensional dentin, the archite threl detail can be define asthe union of constr tion, the reul ofthe logs of teh with consruing, the result of he taco of lpr. Details are much more than subordinate ee- ments they can be regarded ax the minimal unis of Signifcation in the architectural production of mean ngs. These units have been singled out in spatial els fori elements of compnition, in modules ori mea Suves in the alternating of void snd soi, or in the Felavonship between inside and ouside’ The sagges tion thatthe detail sche minimal unit of production T HE ARCHITECTURAL COMMUNITY has is more fruitfl because of the doublefated le ‘of technology, which unfes dhe angle and he in- tangible of architecture. As Jen Labatu, 2 French [Bene-Arts-trsined Princeton profesor of architec “Whatever the ar spaces areas and dimen- sions involved, ic the precie scady and food enceutson of details which contin at- ERfectaad greataese "The deal tei the tales" In the deus are the posites of innovation and iavention, and fe dough these that architects ‘in give harmony to the most uncommon and difir htc or disorderly environment generated by 4 cul> ture! The notion that architecture ia result of the ‘esolution, substation and design of deta has a Shaye been a latent concep in architec! minds. That Isto sy there ruth inthe cassia ermmonplace of [rchterual erties “That might have been gre Brchitecture only somebody had worked out the de- fails” Careful detaing Is dhe ment important ‘mete for avoiding building failure, on both mens ‘Sone of te achiecuralprofesion-the ethical and {he aesthetic The ar of detailing teal the joining ‘Of materials, elements, components and building parts ina functional and seahede manner The com leisy of thi ar of joining i such hat a deal per. Forming satefactority in one balling may fal nam ‘other for very suble reasons "The dscesion ofthe role of dealin the archi ‘ectural process of signification wil be developed in ‘wo parts, The inglres analyze the understanding ‘fete role of de dtl within two diferent but in. Inching realms, the theoreeal nd the empiri‘The first parti sate for an undersanding of the concept af etal in diferent levels of architec tural production. The resuk of eisinguiry the com. {eplual identification of the deta wi the making f thejoin andthe recognion that deals themselves ‘anitypore order on the whole through thei own oF ‘der Conenqueny the understanding and execution ‘ot detals consitute che bse process by which the a ‘hig practice and theores shouldbe developed. The second partisan analysis ofthe archtoctore ‘of Caro Searp(1g06-199) 4 Veneto aie ‘Scarpa architecure, as Lou Kahn pointed out "Se- tailithe adloratioa of nature” The aettectaralpro- Shuction ofthis architeg a which che adoration ofthe ‘making of joints almost obsessive allows an emir Eatineerpretation ofthe role of detain he proces of Signifeaton seen within coral definable modes of Contraction and constring Ip Scarpa's works the felaionships between the whole andthe parts and the teationships between cratsmmanship and drafts. Imanship alow direct subwantsting i copoe wl of {he ieenty of the procestes of pereption and pro ‘Suction, that the union ofthe consrucion with the onstruing inthe making and use of deals. ‘Dctignaies define "etal a smal pact in rel tion to larger whole. In arehizcture ths definition is ontradcory, if not meaningless. Acolumn 3 de- tails well asia larger whole, and 2 whole casi ound temple sometimes a deta, when itis an tem onthe tp oft dome (Figs. 2g) ln architectural, Tteratie, columns snd capitals are cashed a de tail but 20 are pian ado porches, and pergoas ‘The problem of scale and dimension in those ess Featons and the relationship betwen sediculas and ‘difces wakes the dictionary definition wees ia at~ Shitecture, However, ks posible to observe that any Sreitectural clement defined as deal always & join Detiscan be "ater joint” asin he ese of {pita whieh & the conection between 3 colin theftandanarchitrave, or they canbe“Tormaljoins” Shin the eve ofa porch, whi she connection be- {ween an interior and an exterior space. Details are then a diec revul of the rulifold realty of func tions in architecture. They are the mediate oF i= Imediete expressions af the structure and the se of buildings? “The eymologcal origin of the word “detail” does ot help a ll in understanding the architectural we rth term.” i architectural erature the term 3p- peated in the French thearetal works ofthe eigh- ‘Romh centry and from France spread allover E- ope This spread was eased bythe coupling ofthe {erin with the concept of “syle” and by the ative i fluence of French lterary entism ad theory on te Trench rneociasical architec. Tn zo Despressx Nicolas Bonny inthe Sra part of his ’Ar Podge, Srorning against the tse of superfuous deat i poco seta analogy between an overdetale palace {haan overdetaled poem" By the eighteenth cen tury this analogy was commonplace and, ascribing it to Nontesuie, Giovanni Batista Piranesatacked it ‘Brivis defense of his architectural theory of ‘verdetied bulings.” “Phe French theveticiane of the acer par lage were the ones who formally consolidated the ole tf deta architectral prodocion. In the analogy of the “speaking architecture," the architectural deals Se seen as words composing 2 sentence. And, 5 che Selection of words and style gives characer othe sen- tence, in asl way the selection of decals and syle gues character toa building. This powerful role of ‘Re deaal as generator ofthe charater of» bulding was aio pointed oat by John Soane in one of his lee {ureson avchieeture: "Ibo much tention can aot be [ven to produce a disine Character in evry bull fig no only in great features, but in minor detail Titi; even a moulding, however diminstv, cor trite to incease lesen the Character ofthe femblage of hich forms apa"? Tn dhe Beaux Arts tation te understanding of the toe of deta at generator ofthe character of buildings determined very peelian graphic means For the sadly of the onabga Irth graphic rep Tesentain of 2 designed oF surveyed building the Alas play the predominanc rol, They are com- ‘ove in erent seals inthe sem single out [Be dialogue among the pars ia che making ofthe tex of the bulding. Sometimes the building as 2 Aol present inthe draving, and generaly i Tepreenied on a mguscle scale and 201 seems 2 Uta among detail, The origin ofthe nabtiuc and Strole inthe contrng of avehiectarecan be teaced bck tothe technique of graphic representation and omposition developed Sy Panes in bis etchings Sreying the, Mapeiterss of Roman arciectare (rg. These area graphic iterpreation, with = idee Vii bin of Caro Ladlisunderstanding sfthebultenvironmentasasum of inadequate details {O be substuted with more appropriate one." At ‘ther fren of the andi, stating the architec {Ure of tay can be found ow the back of Taian re ote today (Fig 5) Ths important to notieg thatthe onaiigue 36 graphic anabale of deals ad is development in = evi in which architects didnot have 1 prepare Forking drawingr showing the consruction of the Tents The drawings canned few if any details and ‘Simersions The designer could be alost entirely ‘lependent on his cxftsmen. Builders had no need {or deawinge to show details whose execution was a Inater of common knowledge. Construction of de- {alk way parceled ou among the various tradesmen, (tho supplied the neceiary kaowledge for making Them te sare craftsmen who farrished he infor Imation for the Diderot and D/Alambert Encelopédie Aree able to construe the drawing wid the ect ee fhe ats, andthe onapague was simply the source for the undersasding ofthe ordering role of single6 rain fond eerie ae al conraton f, fhe kncyaptde of il! a Aloe eu in the overall composition (Fig. 6." “The production of detail 2s wes exablshed before the development ofthe indus society and locisted by diferent cultural needs, began (0 be ame problematic in a predomisanty economically tmotaced sorety, No longer considered. long Testing cultral and socal tepostorics, buddings (Eine to be viewed as economic investnents with an ‘Stenconaly planned short existence. Two polar ce- lions had developed fom the change that ocurred inthe seope of edifices One ofthe reactions was that the various building trades no longer infeed dhe onarucion of the deta from design drawings. The ‘Suns were studied and reoved on the drawing toards Drafomanship wa sutstiued for workmae hips and the development of “real deal” was re Placed by “vital” procedures. From this point of Frew the detail was no longer part of the Building ‘The detall was no longer seen sont Insead sear seen as 2 production drawing. In an American Goon of Buldeg the term "dea i defined 5 etneton ofl sie oF a large wale of any portion ‘Sam arehecural design’ A French glossary wat Sia ore prec in this understanding of deta: Dera Speetacion or description ofthe work be perforted in the exccotion of building" In this (Rerpretation “etal are verbal and grape means for conralling the work of variablecrew of vocation {eu workers eho are unprepared fr thet own jobs ‘Ss possibly even financially ashones Fe second rection so the change that occured in the role of deal isthe one that can be exemplified by the srehtectue produced bythe Ars and Grats Moverene"The dec his overent, was een 35 Ue "Reane for te redemption of workers, The sil SRG Mhanledge ofthe anaking of details were given Geico the workers Workmanship was sen athe Bie parame forthe details, whieh in themscves see ten a refinement of building tradon, The Sowtedge of etals aad ofthe related skis was the ARIMGry means forthe ace o practice bis pro Fein, since ft was his ak wo slet te appropriate workers for the appropriate dt “Tas ality in he physical production of details also found inthe menial produeton Using concep 2a) Siang, ie posible to deine archtecure 38 Sajatem (evhich thee ta "oa architec” che BeC'Sna a dealed architect, the tale. The d ia arcitecore bared a "the constant proces Sfarawing excasytematicelements ino the eam of the mem and of expelling systematic elements into the te of cotter. = Thestone that the bil 1s BS formed sd sublzd stem reject fr being floor thes point of view superfuous and wnnece {hry earns out toe the cormecsone of subsequest Sprtcm." Frora thi point of view architecture Be SSE tne arcof appropri selection of detain he Bildlag ofthe te A plot with the appropiate de- (ib ickomes« fuly developed and sucesfl “ale _Nreineeae ay arco he appropriate isthe there of aon Banta Abert aettecaral theory Alberti ster reaiecture asthe at ofthe selon of appro ‘SShc Gras whove rests beau, which iy mean Pfu gol. He defines beauty asthe concinniy of “iBpe casi che uty io bic they belong im ‘The word, beauty the ul joining of pars by eMeeanae by which nothing can be added, sub fede of altered for the worse. Generally tis pr (ipl has been interpreted a stating that a building aid bea complete and fined whole, otal ar ‘Rtetzure. Alber however, does not apply this com: Stic the sual edie, bat, rather, (0 the mental Seer oi, that he dea the place ofthe heating si the metal construing and of dhe actual “entruson. A perfec inmance of his union of men: Seance’ apse representation fs i the ‘Bade ot Palarzo cel, designed by Albertin Flor ‘hee Athough the fagade i veomplete 2a iincom fletenes a clearly shows, te deta achieetre 3 Peele. and novhingca be added or subtracted forthe worse. The groves ofthe joins of the stone slabs omperng the thick vener ofthe Hotentine sha. ato (representing the post and beam structure of the Unree superimposed easkal Order, related with itched windows and lnflingwals) are the solution of ‘he mathemaieal problem eet bythe relationships ex ‘sting among the pars ofthe Fade. In many eases the Joins are not real ones, andthe shapes of the ons re not as repulras they appear: fake grooves were carved inthe one to make the dtalled ach tecture compete and to offer atthe stn ine is ove proof (Figs. 7.8 “Albertiscareh for "Beauty" ithesetingofa pre ize relationship between the detail andthe stached meaning. Beauty ithe resuk of the process of sg "cate, and conn ithe process for ahleving i Concinnty is the correzpondence of thre basic te (quirement: 1) Number, 2) Fishing, 3)Calleeston™ "Number ia systern of calculation. “The technique of calculation i part ofthe technique of houre bid Ing"? Numbers in this way are cools for giving mean ing. In architecture chere are cements andy in order to build, is necessary to draw numerical correlation mong them. Ina eiferium, thre arches are corre: iste to four column to make a veriana. The proal inthe det, andi expresied in terms of mould ings capa, bses, and. beysone. "Numerology" then, ior Alberta echnigque forthe selection of ‘rer thereby signaling thatthe details are related to ‘memorable shapes sch asthe human body or cosmo logical figures? ‘using a mathematical procedure forthe det inion of the diensions of te directions in ich the space of architecura objects arieslted. The fede! ofthe widimensional bodies of architecture are defined bya sytem of proportions. Proportion oF “analogy” the use of relations ins measurement” [Ananalogical system is sctof norms forthe creation tod combination of details. A baie measut, oF mod Sle, the norm frm which all che lengths, widths $d heights are derived, and any single deta is mea- Sured after ie Then all the pars ofthe building wil Sand (0 each other in a cect and intelligible rela ‘onship, Thi reladonehip stands even when its fem does not yet havea verbalized exprestion. ‘Collation isthe composing by pace that, the Sunctionalplicement of the detail The function in {his ese not ony is limited to the praceal and struc tal dimensions but it embodies x well itrical And aesthetic dimensions” The placing of deta, then i deeply related to the other two requirement umbers and analogies The dealin this manner is hot defined by scale, but, rather, the sale is the ook for conrlling i ‘The geometrical and mathematial construction ofthe avthitectaral detail is in no sense a technical fuestion, The matter should be garded as fling Mihin che phildrophical problem of the foundation bt architeetreor geomet, and ultimately within che 2, Pa al Fleming opr sna Lan 1, Pala Ru singe cil one jos theories of perception. "The process of designing, ordering materials, and bulding« house ae techniques inthe same way feometty ist technique by which the designer, he [der and the user of house wansform the appro priate ign with 2 ew to predicting the occurrence breertain events This technique (geomet) provides Us with ¢sewcture for desebing the Dut wordy a onceptvdl framework into which the designer, the builder, and he wser ean fi ther empirical exper fee, Geomery shows hota derivea shape or an- ‘ther shape by transformation, In chi guise geometry does not sate fac, but gives us the forms in which to rate facts. Ie provides {Se witha Linguistic or conceptual strucure Tor the Sonstuction snd the construing of « bulding. The [feometial structures embodied inthe areitecrral ‘Geils do not state facte but rather provide a sac- ture for statig face within ticle” They ive us tray of taking comparions that meaning relate The Tabet4 Stuy of th a of Sen cata nD Ra sane de Unechtetre b Volt Le De sisvlly peesved architectural details. The notion of {he individually perceived details ca be ilsteated wth the phenomenon of “indirect vision” a8 ex plained by Hermann von Helmbol: “The ee represents an optical instrament of Way ge held of vito but only asmall ery erluly confi par ofthat eld of son Droducs clear images, The whole ld core: ‘ponds dawg which he ostnper, {Bou prt ofthe mole eaeflly rendered boc the surroundings merely sketched, and Steched the more roughly the further #8 Feed from the main obec. Thanks othe toby of ete however aie Examine careful every pont of the wal Seitinswccson™ Helmholtz research on visual perception per- sued hit that sensory tinal only supply 08 of the presence of arcitectoe, ut donot give us an ade equate undersianding oft Suh signs chat the de Tai Scgure a meaning by vite of which they be- Taree of knowledge through a long process STonodaton and comparivon apd through a set of (geometric relationships "Tne geometreal Teatonsips embodied in the deci ns bul environment 28 well asin a natural vironment set the understanding of the large Feld ‘tis, The geometrical elaboaship or propestion the las ofthe compound pier ofthe High Gothic TeeMlectre exprese in fac! every feature of the imposed sapersrscture (Fg). Suck relationships the rents ofthe transformation in stone of (OE ‘eond requirerment of Scholastic wing of an “ar ‘Shgement according toa system of homologous parts apart of parts" ‘The deals inthis way, wile forming an indivable whole, are individually per (ehved sed understood. “The prers of perception of details within the sphere of archiecral appropriation i sated by ‘Wilkes Benjamin, “Buldings are appropriated in = twofold manger: by use and by perepton o rather Ey ovet an sigh. Tacle appropriation is ac Complished got ao much By atenion 35 By habit. AS ‘equ achtectere,hable determines t a Iarge ex {ent even optal reception, “Fain isn empire theory that regards all per cepuon of space at depending upon conventions and (es not only quale, but even details as nothing ‘hore han sigs the meanings of which are learned ‘aly by experience, These couventions ae the Basis fo archverute wrdetstod as existence, fort, and locaton of exceral objects. These Helmbolr cal, perceptions Reresptions are the ideas oF signs of ejects reuling from an interpretation of sensations {have cased ont by procetes of unconscious gee ‘retrial inference. The placing of tals has @ key len these processes of aference. The visual ns ons guided by the tale sensations are the gener2~ ee SFine geometrical propostions. In architecture, {eeling handrail, walking up stepe or between wal turning e comer and notngtbe siting of beam 8 Sane Coordinated elements of visual ated wetle ‘attons The locaton of hose deals gives birth 10 {he conventions that tle & meaning 1 a pereepton. “The concepion ofthe architectural space achieved in {Busway the result ofthe association of the visual image of details gained through the phenomenon ol Indifer vison wih the geometrical propesion et bodied informs, dimensions, and location, developec touching and by walking through buildings. ‘The ar of dea ei i most sophisicated and learned form in the work of Cato Scarpa. An analy (St te concept of dei in Scarpa architect car Tht Se begun withthe words of Louts Kab: Inte work of Carlo Scarpa Beauty the Bec sensean the Best word thea wonder then the faner realization of Form the sense ‘of wholeness of inseparable ele Design consis Nature toe presence othe elements ‘Ron ofare makes manifest {he wholenes of orm ofthe Symphony ofthe selected shapes Fike cclent m= in the elements theointinpies ornaments bration. ‘The deal ithe adoration of Naere"" “The"aoraton of the jinn Scarpa architecture, iss perfec relation of Alters toncnnty. Each eta tells ur the ory oft mating, of ts placing, Sd of i dimension The telco ofthe spo: rns deals eran singing out a Kuetionl Rice The dei of Serpe arcctore solve not Sly practi fonctions bt ao hr, soci, ad ‘Salida functions Scarpa arctecture can be general ssied as she merging ofthe principles of torn te tSctre ar enpremed by Prank Lloyd Wig with 2 icy diigo Vero cetsmaship wh abled ‘rode and ancient echoes (Fig, 10) However The defo is nadequate;wherear Scarpa under. Sanding of Wrights arhiectre war pave, Dated Sn appreauion of photograph and droge, it cddating of Veneto cealsmanship wae ete EXT nha daiy working and dealing wit the onecuter, suaiony, carpenters, ganmaker, and Site of Wenice. The rent moder arehtecure {has ore than rational stractres and faneional {paces The teaching of funconalzn prove in Sines work bu te fmctonalty i medited by th wearch for representation sd expresiontrovgh the making Sarpy schtecrre stands agin the bare uractre of fogi sand forthe enon of re Shu vray that forthe union of representation nd ‘con ‘Thi concep rules Sepa archtectare from race :o expres. In biarchtecturalob- {ct the thn of he lg the comsraing, Becomes the manner of production of gos that ate the de- tl The lg the tc, the comsrecting, which fest from he exprenton of Vento catmnsh, ‘comer ue decal coutepar nthe generation the desea sigs Scarpa Ualdngs show indeed STconsane search tt butncen the seal form (be buittong), andthe sirtal form (he persved one). "The constant manipuition of the derepuncies be: {cen tol and aeealfrn ithe method ed or “ihicuing expressions“ schitcsre” Srp once {Sid “here no such thing a8 good iden There ‘nly expeon 10, Pret forthe Maser ain, Vien. Pah Lip tigi 195 “The analysis of Searp's detail can be sats: torily managed vtully only by continuous com parton between drswings and bull objec, on the fe hay andthe historia, praca, and formal ‘elecence that. generated any single deta om the ‘athe, lis alo nectsary to ace Seapes deta from ‘wo different sider. Om one side, his dealing is the result of interfacing of design and craftsmanship on the ske and ofthe constant "eenora veefeation” of ‘Goals during the aembly of the buling. Scarpa nade a practice of visting the bulding ste during the night for vercaton with a Maslight, hereby ‘controling the exeotion and the expression of the ‘ets, Inthe normal daylight it would indeed be im possible ro focuron detain such aselectve manner, {eis also procedure by which the phenomenon of the indirect vision becomes an element nthe proces ‘of deckon inthe design. The fashight fa tool by ‘which s achieved an analog ofboth the proces of Som and the eyes movement in ta perception feld (wats only one spot infocus and the ee darting ound). Another Veneto arehtet, Panes used the ‘Sie technique in visting the sites ofthe buildings he teas going to survey and represent inhi etchings of the Anichia Romane, To single out the “exoresion ofthe fragment” chat che dels he wed the ight ora candle” The Tilt Tale Detail 291a Pl, Mant Fifeeh centr ‘om he oer side, Scarpa’ deals are te est of an nlectual game performed on the "working dee pacar een ofthe ierfag of Se satsmanshp. Tht game nthe machingot (E'Shurucin of arepreneniauon with a contac sree eiee The eatonsiptevees arte vo ang and bongs general thought of ee eraan preston based on veal MCCS are BowcrenSenpa rang show he rea es mciecaral drawings that ee fac cht BES Se feproentaons tat ae the rests of on whey ps rsra)-They ae aconstrlag of et see Fodgment interac with he eal proces of ri coeamucion of an arciecral objec. The Bane omar on he papers area tansforaton a oe acm of tepreenaion © another. TREY reo Gansformacon of appropriate gos wih view a erehcang of can sretteutl 7 tht so ene and ce penorens of constuction + or erormacion bythe uldrs, ad on Ube m7. god the phenomena of consring andthe er ation by the ponble wer. Consequet corre drawing there ate presen sera les oF though resin is developed by the same technique in ich the Seawing ie ade” The consnoods infer Tri et om mich the desig pres based i $06, Ermine sequence of mark on paper that are sete onthe proces of consucon and co ao cea drawing paper seed F050 Se how proses of te conan of 2. re tn coneaneny vera and horn a ere a evans ofthe designed pce eM facings ve surounded by unframed Testes thar aaa widimensionaly any ito he Free aptedicon of he ole ofeach dtl in hed ele ceva an inthe perception of Berean he indirect sion Scarpa drawing! Go sr fe Tare schist pee as 54S ae se arn, and woke, Rather they present eee ok rtostormation ofthe deta from one the ros Srenemation anaes fom dang 0 thising cp’ drawings itis bo posible to ave te pratt fue syns et appropriation that rules ti reo of archaccoe. These represetaios © Fee ional secures on 2 twodimensons arrest from he iteration exiting betwee rend cae perceptions. The central part of TER generay, presents graphic constuction (arnt Relabled racic raving Butthey ar cee tadisoaly ented a lan tt00 aa Son Searpa drawings are not mel ra Garten descriptive geometry, rahe, th BLS Spons ofthe fare perception rat TEP RE king ofthe seen objec. TY Be ponent of pereption are anayeed for see or pee fr te hole, mheres the cle De seer veri fr the whole These avin[prevent components that are not vible but tht are fhe reslcand the projection of construction and con Strung, Albers ental elie. They are the result of the memory effects of the organs of touch and Sight in the making and using oferchitecute. These drawings sre never fly rendered. Only fragments and pars of tiem are. This practice sbowsby analogy thay while its whole, arpa architecture cannot be characteried as complete. An architectural whle i Seen asa phenomenon composed by deals unfed by devices” a serving principle This principe, in Scarpa’ architecture, i the order generated bythe Use and the understanding of dassal architectural ‘eas such ae Taade design (Fg. +3)" Scarpa is 3 Magater Lu, nd his buildings are texte wherein the deals ave the minimal unit of ig nifcation, The joins between diferent material ad shapes and spice ae pretens for generating text ‘The interfacing of commentarin wits procling textsin the archtectareofSearpa is alway problem (of joints, and in the join he achieves the change of ‘oaventions. That possiblity ina consequence of the fact that many of his architectural texte are lated commentary to preceding texts and in many cases. a {n'a medieval chltom the commentary in einer ‘cing wth the orginal tex generating anew text In the design of the addition to Cipeotra Canavan in Possgno, Scarpa wat able fo change the conven ‘don that ask forthe background wall of oletion ‘of gypaum cat tobe ted. Searpasslstion wa to pul the white cass against a white background wall {hat was washed with igh, without cree lighting ‘he cass, The problem and the solution ae nthe we flight (ig. 14). Searpaolves iin detain the joint OF three wll a corner mace of glass (ip 1518) Tnalecture given atthe University of Verse (gp) he described the architectural making of this corer ‘Te achievement ofthe effet of ight occurs by aor thal maniplaion. The soliton ofthe formal ese folves the nal ause He described as "cipping off the blue of the sky formal cae, but he reel ar the igting ofthe wal de nal care. His own words re the bet desripon ofthe making ofan architec ‘ural deal Tove Jot of =. natural ght: wanted te elp ofthe bie ofthe ty Then wha {Be comer becomes» Bue tock pushed up Spd nse [dv baling), height lluminates {Iithe four walls My bs for formal solons rade me preler am abolute transparency Consequently I did not want dhe corner of fn to Oe ina frame. It had been a tur de fore becanse wan nt posible to obtain this {dea of pure tansparcney, When I overap the gases Tsce the comer anyway. expel Ifa gle isthice One may a¢ wel putin the framel Then, esis this Hf 4 lear 23) tne may see the reflection, Look when Iso" the Tale Dita 91, Zig daa ot Bri gs Conder, 8 Vio Ail (ar Supe, 1970 1. gat Bes the rection 1 hated mel id not chink ofits eee tone atin {itis necnary to have + double’ mind, 8 {ple mind, the eid ike that of robber, han ho gpecultes, who woud ke toro ‘Hl an i irnecestryohavethat which Gal wi an atencve tenon toward under Sanding al hat happening” “The development of architecture in the works de signed by Searpa proceeds by steps and sages. These fe inthe dette Each deta represents an interim fesut shat cannot be considered anal result. Scarpa would invent detail the precise architectural func Tonsot which would become ear only after they bad been used in several diferent designs. The range of thove architectural functions goes trom the ised Moto te mediate understanding of the meaning of ‘de deal Tiscreave ut of detain design uly inaccordance with Witgenseins understanding of & Ceatve wie of language The “xa” meaning, that Sr the function of words, would ony become Kowa Sy iter use. A Tuneton of detail in 2 design be Comes clear by representation, that i by Fuse ‘The des ofen appears incomplete and vague ins srrecuring principe. Bu, orifyag in tse function Sd representation, dhe resae of 2 deal becomes a treatve coast. Ke becomes fertile deta The re pte ona Cal Serpe, 1976-81ue of detail t analogous o Richard Wagers reuse (of intmtes The lettin are sructural devices tied by Wagner to ascmble apd reconstruct the a ‘hectare of pera from within and ar the smal {nk ofsigoetion fn he musical text. Scarpa d= tals ae structural devices used to asemble achive: {ral text fom within ‘case offerte decals in carpe’ arcitcaure is the tue of the Cemetery a5. Vito! posit of casing as generator of moldings In che Bank, especialy in te fagade, the viggurat deus 2 anna in Resso Verona, the brocadelike local srulein which ts encented (Figs. igre. Scarpas few woe of this dota was 2 conmete treatment of a temporary fade executed by pling up concrete block n front ofthe Taian Pavibon at the 1gés Biennale ia Venice, But ar Heracis has pointed out the primary root of "csmes is "os for” This same\cosmeti deal Becomes the pin- Sipe of orderinSarpas Mazeum of Caste ferona.The riggurat motif becomes thes terminating the layers of the wall of dhe fade Sow the vital ome bstwesn he orginal wal snd te Tale Dati! 98,i 26 Barly is, parm for Congrnde tet, Cae the Romani replica ofthe facade wal consrucied bby Amonio Avena in eq. In the Museum of Cas tehecehi. the medieval equestrian statue of Cam trande and the structure which supports iare sein a Spatial location tha allows 3 view trom the balcony, the bridge, and the cour below. This ation aliows fe to wew the satu from close-up as well 8 (rom ‘alow, a was seem ine orginal locaton on Can frande shrine, Thiol originates the Fl text ofthe [focal organation ofthe Canlvechio Museum. I. thus becomes dhe cause for the formal solution of the ‘seu ad the text in he content (Figs 22—25) ‘An early. design of the platform tolding the stan of Cangrande shows ieas the pretext for acle- bration ofthe viral join determined by is colloc tn (ig 20). Tas drawing shows the Wea oF the 2g furatat a generator ofthe wall The layers ofthe wall Fxcome independent una ad exch one ofthe is tapresed in vertcalsggurat The space opened up tpt cutting ofthe facade all helpe the whole cone poition ofthe new arrangement of the museum de sed by Scarpa The space a virial joints then the Tey arculaionin the touscu’s path, butt dhe same time becomes a "negative joint in the articulation of the maser of Catlvecchio, The open space, instead fof separating, helps connest the left and the right trast of thecal. Thewearestuated on the sides of the tower which acculter the jlnt between the brdge on the river Adige ai the cal, The selec ‘Non of the sggurat athe ending ofthe wall mediates 2, Pn gf ry, Cascio. Serr rete eae The TebthTaleDaa 9528.28. Roly chap ing gore! mai, Son Vo Ail, een modified by anew model eee, The dee inp the Tah or Don Ovdrs ar ben ep tpenew dean sconce ec Sepa Beans New Se ge 982), Tuned ths dun oho of dist 2 intel unin the proceso gain Oat the manplton f eaning) i wt orem ttvarhlegureapar ang ara poser Te i team of theron genre ye Se tale abe Arcerure tant bce nie ited dx only thong nst of sheer uaa ind low ur trough fo od Colon Te fn ta athe ee en ta er beh he cman snd hecnang Besednesure we poe. Curran ret tS compos ov dengan se ot the pnts he place oe pov of tins Shon cl ae nearing of og nd. Enropen ott the word ajo Arka ak si The joints the beginning of ornament ‘Ane tha mus be dtinguished from ‘decoration whichis siply applied. ‘Ornament nthe adoration ofthe join.” Nores 2.5: Heuce, "en cnn ara f aia ee Ee eee ‘ume in Geek aces “He no ism fr ene Pd ‘SSputed she Aone cng Cate oo ‘tne eee deh aa nar econ) ‘Meonng Utes Futon! Ln. 173}, pp. 1 4: | tank gra o Areca Congoton at ‘Scroom, tof Aree Pre ‘Shcnnonortetou cnn norms aaa soya fre ‘err ator Sr oe Ae anioy Focceeeg "6.8. Pans “Pare (785i Whey, The Penco Wns sor 170, 15 Sone, Leo Arete (London, 29)». webraemcn age eget rtf heen pbtetemner imme Crs ti no Meet att rn nt “earmama Mgt vo tn See Spinco interpretation the anceps th eon fe re of Sree adage aera empties eet tn numeri a eperreen rt te Rik mies eas bronco awe Siang yo nt Raa emg ea Ne No mn ma ere nny 7 uy ont mh what 2 Wer exo, nin oe 885, 22 Tore p18 5. aden Opin, Ce Sep enn J Maho pp 280-48 12. Cel Sarp,"Pranment 178 ogee 88 53. co, en (Bole, 9652p 4 oo Sarg. B- 46. ora con fe ere? ete al {SNe nl in Ano Evan, en Oar of) ans se 17 Lan Ka, phe Fleer War, 9 98 BIBLIOGRAPHY cen lp, Cap ia, 9 er Lene i ee itr 68) Ml, 6 ej, Warn NeW 168 anf, Reg Te iss, end, 198, ei, Despro: Mala At pti (E0, Pri,16. ran tan“ Sarp og IT. 28 ‘ea Coit Dis ary 191 venoiAon he ike Ord of ot aden. 1982 Fen, Phen: ologn18 ‘scar Fad Geri of Pesyran ‘Gano Searpa Budo 6 (Decenber 1882) pp. Garvey 60. Te evn Gary of rel res, Cn eink, Yon. ie rie amt 984 Jptnaco, Pip “Archer Dean” Arad Rr a, on Light The Fr Worth 178, rape Meng te Un Enna Lond. 199. Lat Jen he App o Are Compton” Mat SES pps loa, "he Oa Ho ta emis" uate, rac Sand Pain NG Maen, Fac ©. Bit Wik, Wien Ey 8 noo i fame Di stn rt CP Sep: Ct "rammen 185-78" Reng 8 Scr, Ai of cer Pisce. 178 So, $ Tat enon 112 ‘Ste, J Lr os are Lenn 28 re Pay of Come ann Len an P| Arce Deal” Pr Pa ay 98, Jone wwe Oe Acti 7 SFr and come. Rome, gc Lg. Aro om aes. “ree TitaeTale Dll 04