Italy Series: Northern region// Vicenza, Mantua, Verona and Bologna

Villa Capra, known as "La Rotonda"

Our last few days in Northern Italy were very intense, we visited four cities and countless sites in 3 days including we spent time in Vicenza, Verona, Mantua (Mantova) and Bolgna. We spent quite a lot of time on the bus (maybe too much time), we walked a whole lot and had some great traditional meals. In Vicenza, we saw three significant works by Andrea Palladio (La Rotunda, Teatro Olimpico and Palazzo del Capitanio). I remember feeling a sense of relaxation when we arrived on the grounds of La Rotunda-Villa Capra, it was a nice afternoon, the grass was well manicured and it was quiet; we all found various spots to sit and sketch the details of this great Renaissance Villa. Teatro Olimpico was our fist stop the next morning, I was a bit grumpy because I wanted needed a 'big' coffee and they don't really serve those in Italy, neither do they serve to-go's so my morning ritual of nursing a cup of coffee was not happening (this was an issue for the entire four months..but I digress). 

We met at Piazza dei Signori where we (myself, the husband, Cinzia and 22 students) bombarded a small cafe with our breakfast requests..we then quickly drank our shots of cafe doppio and went into the very delicate structure of Teatro Olimpico which is the oldest and first enclosed theatre in the world (built 1580-1585). We got to explore the space and even go on the set which revealed the trompe-l'œil stage set, designed by Vincenzo Scamozzi. They really were opposed to us photographing the space so my pictures aren't as dramatic as actually being in the space. After a long scenic walk through the town, we ended up in Piazza dei Signori.

Vicenza

Villa La Rotonda is a Renaissance villa just outside Vicenza, northern Italy, designed by Andrea Palladio. The proper name is Villa Almerico Capra, but it is also known as La Rotonda, Villa Rotonda, Villa Capra and Villa Almerico.he design is for a completely symmetrical building having a square plan with four facades, each of which has a projecting portico. The whole is contained within an imaginary circle which touches each corner of the building and centres of the porticos. (illustration, left). The name La Rotonda refers to the central circular hall with its dome. To describe the villa, as a whole, as a 'rotonda' is technically incorrect, as the building is not circular but rather the intersection of a square with a cross. Each portico has steps leading up, and opens via a small cabinet or corridor to the circular domed central hall. This and all other rooms were proportioned with mathematical precision according to Palladio's own rules of architecture which he published in the Quattro Libri dell'Architettura.

The design reflected the humanist values of Renaissance architecture. In order for each room to have some sun, the design was rotated 45 degrees from each cardinal point of the compass. Each of the four porticos has pediments graced by statues of classical deities. The pediments were each supported by six Ionic columns. Each portico was flanked by a single window. All principal rooms were on the second floor or piano nobile.Palladio had intended it to be covered by a high semi-circular dome but Scamozzi designed a lower dome with an oculus (intended to be open to the sky) inspired by the Pantheon in Rome. The dome was ultimately completed with a cupola.Building began in 1567. Palladio, and the owner, Paolo Almerico, were not to see the completion of the villa. Palladio died in 1580 and a second architect, Vincenzo Scamozzi, was employed by the new owners to oversee the completion.(via)

The Teatro Olimpico is the last work by Palladio, and ranks amongst his highest masterworks. The Vicentine architect had returned to his native city in 1579, bringing with him a lifetime of detailed study into all aspects of Roman architecture, and a more detailed understanding of the architecture of classical theatre than any other living person. Palladio had illustrated Daniele Barbaro's Italian translation of Vitruvius' De architectura; the prints for this edition include floorplans for Roman theatres and an elevation for the scaenae frons of Vicenza's ruined Roman theatre, the Teatro Berga. (..via)

Palazzo del Capitanio, in Piazza dei Signori

The civic and political heart of Verona is the Piazza dei Signori where the former city hall, the Loggia del Consiglio, still graces the square. Next door, the city's most powerful family, the Scaligeri, built their palazzo - not that they were trying to intimidate the councilors at all. It may after all have just been a matter of convenience, as the Scaligeri most often held the title of Lord of Verona and got to sit in the big chair anyway. Even in death they didn't like to be too far away and the tombs of the Scaligeri clan are at the far end of the piazza in Arche Scaligere.While not huge, architecturally the Piazza dei Signori is significant, with a mixture of styles, all joined by a series of arches. One of these leads to the nearby Piazza delle Erbe, a marketplace. The arch, the Arco della Costa, contains a whale's rib which is said in legend to fall on the first just person to walk under it. So far it remains firmly in place. In the middle of the square is a statue of the writer Dante. One of the Scagileri, Cangrande I, was his patron. (via)

Mantova

Mantova was fun, it seemed a bit more "city" like, I did some shopping, we had a nice lunch in the main Piazza and of course its Duomo, Cathedral of Saint Peter the Apostle was absolutely amazing. 

Duomo di Mantova

Duomo di Mantova Cupola

Verona

In Verona we visited the Castelvecchio, the most important military construction of the Scaliger dynasty that ruled the city in the Middle Ages. It is the home of the Castelvecchio Museum, whose restoration was done by the architect Carlo Scarpa, between 1959 and 1973, 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. (via)

Santa Maria Antica and Scala Tombs

Castelvecchio

Bologna

Bologna was the last stop of our trip before heading back to Roma. By this point we had all gotten rid of our jitters and become pretty good at traveling together by bus, we got the hang of things and become a but more playful I suppose. I remember, sitting and having some good laughs in the Piazza with Cinzia and Austin ( Italians give a good happy hour after an afternoon siesta). The students were a bit less tense, we had become a unit in a way rather than a bunch of nervous strangers traveling together and having to rely on each other to get around. Anyway, roamed around under its ornate porticos, stopped and shopped and took more pictures enjoying the details of the Historic center. 

Bologna is famous for its cuisine (la cucina Bolognese). It is also viewed as a progressive and well-administered city. It is considered second only to Venice in beauty by many Italians and certainly has one of the largest and best preserved historic centers among Italian cities. Its architecture is noted for its palette of terracotta reds, burnt oranges, and warm yellows, hence the name of Bologna la rossa (Bologna the red). The extensive town center, characterized by miles of attractive covered walkways, known as "porticos," is one of the best-preserved in Europe. (..via)

Piazza San Stefano

Neptune's statue

Italy Series: Northern region// Brion Cemetery-Carlo Scarpa

The window of the pavilion of meditation is in the form of a vesica piscis, a repeated leitmotif in Scarpa's architecture.

After a few days in Venice and almost getting thrown out of our hostel because of how loud the students were all night, we boarded the bus to Vicenza. Before we actually made it to venice we took a detour and made two stops; one at the Brion Cemetery is in San Vito d'Altivole near Treviso whose addition was designed by Carlo Scarpa, and the second stop was at the Museo Gipsoteca Antonio Canova in Possagno also by Scarpa. The cemetery was designed for the Brion family, and is tucked away in an lush landscape, you actually can't see it until you actually arrive at the entrance.

Looking over the wall 

Entrance to Cemetery

The cemetery is an exemplary work of Scarpa, it includes the burial tombs, highly detailed semi- enclosed structures, water features and an island which is inaccessible to the public. Its materially a bit brutal but the cuts, slits, striations and transitions change ones perception of the space. At certain moments, there is a change in materiality to a more translucent material of to a metal. Openings are treated very carefully, the frame views or the viewer and concentrates light. Its relationship to its surrounding is almost one of a camouflaging, the walls are just below the height of the vegetation around but within, it complements the structure, provides shades while the water is reflective. 

Scarpa's resting place

One of the family tombs

Material transitions

detail of water feature

 

Canova 

Scarpa's hall exterior- protruding window box.

Scarpa was born in Venice. Much of his early childhood was spent in Vicenza, where his family relocated when he was 2 years old. After his mother's death when he was 13, he, his father and brother moved back to Venice. Carlo attended the Academy of Fine Arts where he focused on architectural studies. Graduated from the Accademia in Venice, with the title of Professor of Architecture, he apprenticed with the architect Francesco Rinaldo. Scarpa married Rinaldo's niece, Nini Lazzari (Onorina Lazzari).

However, Scarpa refused to sit the pro forma professional exam administrated by the Italian Government after World War II. As a consequence, he was not permitted to practice architecture without associating with an architect. Hence, those who worked with him, his clients, associates, craftspersons, called him "Professor", rather than "architect".

His architecture is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination. He was Mario Botta's thesis adviser along with Giuseppe Mazzariol; the latter was the Director of the Fondazione Querini Stampalia when Scarpa completed his renovation and garden for that institution. Scarpa taught drawing and Interior Decoration at the Istituto universitario di architettura di Venezia from the late 1940s until his death. While most of his built work is located in the Veneto, he made designs of landscapes, gardens, and buildings, for other regions of Italy as well as Canada, the United States, Saudi Arabia, France and Switzerland. His name has 11 letters and this is used repeatedly in his architecture.[2]

One of his last projects, left incomplete at the time of his death, was recently altered (October 2006) by his son Tobia: the Villa Palazzetto in Monselice. This work is one of Scarpa's most ambitious landscape and garden projects, the Brion Sanctuary notwithstanding. It was executed for Aldo Businaro, the representative for Cassina who is responsible for Scarpa's first trip to Japan. Aldo Businaro died in August 2006, a few months before the completion of the new stair at the Villa Palazzetto, built to commemorate Scarpa's centenary.

In 1978, while in Sendai, Japan, Scarpa died after falling down a flight of concrete stairs. He survived for ten days in a hospital before succumbing to the injuries of his fall. He is buried standing up and wrapped in linen sheets in the style of a medieval knight, in a private, semi-hidden alcove in the inside corner of his L-shaped Brion-Vega Cemetery at San Vito d'Altivole in the Veneto..(..via)