In the Steps of Scarpa

Author(s): Alice Nickell

Source: Building Material , 2016, No. 20, Building Material (2016), pp. 123-149
Published by: Architectural Association of Ireland

Stable URL: https://www.jstor.org/stable/26445106

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 In the Steps of Scarpa
Alice Nickell

This article discusses Scarpa's stairs - the materiality and

tactility underfoot, the craftsmanship, the ease of movement
on some, the concentration required on others. A number
of projects are presented as simple line drawings, with
supplementary photography in certain instances. By virtue
of a close reading of the physical nature of each stairs, the
consequential effect on eye movement and the manifestation
of tectonics, I hope to present a synthesised understanding
of Scarpa's intent in the spatial sequencing of Querini
Stampalia, Castelvecchio and Brion Cemetery.

Querini Stampalia
Location: Sestiere Castello, Venice
Built: 16th Century
Scarpa renovations: 1961 - 1963

Scarpa was commissioned to renovate and reorganise the

ground floor of the Querini Stampalia Foundation, damaged
by previous acqua alta.1 Scarpa viewed the flux in levels of the
adjacent canal as inspiration. Instead of blocking the flow
of water, he allows it to seep deep into the plan. This daily
action of the water ebbing in and out 'is a daily reminder

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of the recurring acqua alta and also a symbol of Venice's
"dominance" of the waters.'2 In the front area of the design,
the floor level is raised to that of the neighbouring Campo,
creating a floating walkway with a cascade of steps down
into the canal. Deeper within the plan, Scarpa treats the
main gallery space as a basin, sinking the floor level back
down and allowing the floor pattern to wash up the walls.
The floating walkway in the central space has an
exaggerated edge of 300mm. This edge emphasises the floating
feeling of being raised above the water level. As a result, the
walkway feels like a separate and complete element within
the room, while similarly highlighting the current water level.
The walkway becomes a new insertion into the old building
both in plan and section, touching neither the pre-existing
walls nor the floor. In the space between this suspended
walkway and the original building, mini canals are created
where the water is allowed to circumnavigate during the
acqua alta.
The Istrian stone edge becomes more noticeable as the
walkway narrows through the arch.3 The eye is led around
the space by this top edge of the walkway until it rests upon
an element that cantilevers to the left. Approaching this
heavily undercut protrusion, it becomes clear that it is the
first step in a set of stairs cascading towards the water.
The steps are rarely used to enter from the water, but visually
provide a grand entrance from the canal. Materially, the steps
are neither a simple extension of the raised walkway, nor the
rough concrete below. As well as cascading in form, the
materials follow a similar pattern, with Istrian stone covering
the top surfaces of each step and the concrete visibly rising
from below. The top step is set at the same level as the
walkway edge, resulting in a rise of 300mm. It is a high step,
and the motion of approach and ascent creates a sense of
threshold between the raised walkway and the gradated
section below. Often Scarpa creates a threshold which,

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although visible in the details, is predominantly experienced
physically; in this particular instance he presents a step up
or down that exceeds a natural or comfortable rise.

On coming to the first step, a notch in the Istrian stone

is seen, showing the thickness of the stone. Descending
onto the second platform, turning to the right and climbing
parallel to the canal, small shadow gaps between each step
are noticeable. To the right of the steps a floor level extends,
and one becomes aware that the water must flow in and

under the raised walkway during the acqua alta. Due to the
varying heights and the unusual shapes of each level, the
gaze is lowered towards the feet, or a little ahead, drawing
the eyeline down to where the water begins to lap over the
steps. This engages the visitor to physically gauge the water
level. The steps are square in plan with 45 degree cuts. This
angled climb directs the descent; first right foot, then left,
down towards the water, like negotiating boulders down
to the beach.

The fourth step is larger and has two notches cut into it.
These notches mark the dimensions of the smaller steps in
relation to this larger one. At this point there are two routes
available, depending on how high the water level is. Continuing
to the right, there are two small interconnecting steps, or
behind to the left there is a larger rectangular step, and then
a large square platform into the water. Clambering down to
the right, to the point where the canal water meets the
architecture's edge, there are glimpses of the Campo through
the gates, and passing gondolas cause gentle waves to lap at
one's feet.

During the acqua alta period, the water in the morning

is level with the top of the second step. This lowers throughout
the day to the bottom of the stairs, a change in water level of
approximately one metre that happens daily. Turning to climb
back up the stairs, the undercut of the walkway is seen and one
ponders how far the water seeps into the plan.

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 The raised walkway extends by one metre into a third
room, a side gallery whose floor is at the original level of
the Querini Stampalia. This protrusion extends an invitation
to enter. Walking through the archway it becomes clear that
there is a set of steps down to a lower level. Scarpa did not
consider this one of the predominant routes through the
building and therefore positioned the steps at the side of
the walkway, ensuring an uninterrupted view from the centre
of the walkway and maintaining a continuous edge for the eye
to run along. It is significant that the edge of the walkway is
not broken or corroded away to allow for access to the stairs.
The edge is squared off, creating a boundary or threshold to
step over. This enforces the feeling of the raised walkway as
a separate entity and its elevation above the original floor
level is emphasised.
The two steps down to the north-east room are separated
from the walkway edge by a small shadow gap of 30mm. This
indicates that they are neither attached to the original level
of the Querini Stampalia, but nor do they 'belong' to the
raised walkway; instead they are an individual element that
goes between these two conditions. They are not set alongside
the wall of the room, but are placed 270mm from it, creating
another canal like space to the right of the steps.
Stepping up and over the raised edge, the gaze is lowered
and the eye is caught by the white stucco panels on the wall,
which stop at this level. This indicates that the water can flood
this room up to this point - a height of 470mm. An awareness
of the potential water levels shapes this gallery to feel like
a rough concrete basin, with the raised walkway edge and
stucco panels being the protected level of the room. The steps
down into this space are 230mm and 240mm high, so both
feet are placed on each step before stepping down again.
On climbing down the gaze is focused on the foot placement.
Stepping onto the rough concrete floor, the eye moves to the
centre of the room, the point at which the Istrian stone

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drainage channels cross, before rising to observe the internal
elevations.

The stairs to the library are in a narrow hallway, and are

not visible until one is directly in front of them. The original
steps of the Querini Stampalia are underneath, with Scarpa
inserting new marble treads and risers into the existing. The
original Istrian stone stairs are exposed at the edges and in
a narrow gap in the centre of the riser. This allows the profiled
nosing of the original step to be compared with the un
profiled nosing of the new steps, making clear Scarpa's
intervention. The inserted marble slabs are smooth and

polished, drawing attention to the differences in materiality

and age. The handrails are set into the original holes in the
Istrian stairs, creating an undulating shape at the bottom
of the handrail. Scarpa also steps the stuccoed panels on the
adjacent walls, in an irregular pattern unrelated to the stairs.
This exposes the original rough concrete wall surface
alongside the stairs, drawing the line of vision downward
to the most detailed part of the space. As Scarpa's new
additions of marble steps and stucco walls sit proud of the
existing structure, a channel or void is created around the
new insert, reminiscent of the channels surrounding the
raised walkway. By carefully setting his work off the original,
emphasis is placed on both what was there before, and what
was added later. As Scarpa himself said in an interview, '...'I
renewed the staircase without destroying it, preserving its
identity and its history, increasing the tension between the
new and the old.'4

The common perception is that Scarpa layered his new

steps on top of the original, in the manner of a non
permanent intervention.5 However upon closer inspection,
it is apparent that the original stair nosings have been cut away
to allow the new marble slabs to set into place, a permanent
fusion of the two. This appears contradictory, and one could
argue that the original staircase has been destroyed; these

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new additions, if removed, would not leave a complete
staircase. Scarpa uses the terms 'renewed' and 'preserving',
but he is selective in his preservation.

Castelvecchio
Location: Corso Castelvecchio, Verona
Built: 1355
Scarpa renovations: 1957-1964,1968-1969,1973-1975

Castelvecchio is a complex building, having undergone

many transformations and modifications. Scarpa's work
on Castelvecchio spanned from 1957 - 1975, with three
main stages of intervention carried out. Two sets of stairs
within this building are discussed.

Concrete stairs

There are two sets of stairs in the cutaway section where

the Cangrande statue is displayed. The first set is from the
second floor of the watchtower down to the Cangrande area.
The second set is from the Cangrande area up to the walkway
along the rampart.
The stairs from the watchtower down to the Cangrande
area are concrete, and are partially enclosed within concrete
walls that drop and rise to frame or conceal different
views: 'Scarpa enjoyed the pattern of steps in section and
the potential juxtaposition of other adjacent elements
descending in syncopation with the actual steps.'6 When
standing at the top of the stairs, a view is framed of another
set of stairs stepping up to the left, as well as a second route
leading off to the right. This invites a descent to see more
of what lies ahead. On approaching the base of the steps,
the concrete walls on either side extend out as an enclosure.

These walls have metal angles set into them, creating notches
on the internal side.

There is a shadow gap in the ground marking out the top

step and indicating that the staircase is an element in itself.

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Stepping down the first few levels, one becomes aware that
the concrete enclosure cuts through an old wall. The eye
is drawn down and slightly in front of the feet, focusing on
a shadow cast across the eighth and ninth steps. This causes
the gaze to rise towards the source of the shadow, making
one aware of a incision in the concrete wall on the left,
which reveals the old Commune wall. This cut and shadow

emphasise the thickness and depth of the wall the staircase

passes through. The concrete walls enclosing the staircase
are vertically board-marked, allowing for a greater sense of
descent. After passing through the depth of the original wall,
the concrete walls on either side start to step down
as 'an essay in how parts of the city and parts of the castle
are revealed and others are blocked off.'7 The step of the wall
is not in relation to the stairs, but is choreographed to reveal
views beyond the staircase.
The first view is on the tenth step, where the wall to
the right drops and curls away, framing the early glimpse
of the Cangrande statue. On the next step, this wall blocks
off the view of Cangrande, causing the gaze to turn to the left.
The concrete wall steps down at this point, allowing a view to
the river, bridge and town beyond; a reminder that this wall is
at the edge of the building. On the twelfth step, a drop in the
wall to the right allows the gaze to turn and lower from the
tower to the excavated moat, and the new bridge that crosses
it, giving a vertical panorama of the space. Approaching the
end of the staircase, the walls on both sides begin to block
off external views, focusing the mind on the choice of routes
ahead. The last step of the stairs twists slightly to the left, to
address the level change opposite; both bottom steps of the
staircases sitting parallel to each other.

Diagonal stairs
On the landing between these two sets of steps there is a
narrow window cut into the concrete wall on the left, allowing

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for a very particular view of where the water of the river
meets the base of the bridge. A single platform protrudes
out from a diagonally cut set of steps in front, 'pulled out
as an invitation to climb a staircase'8 and to the right a
bridge leads across to the Cangrande statue. 'The simple
asymmetrical positioning of the cantilevered square here
offers the visitor the chance to step off the 'floating planes'
and into the solidity of the wall.'9 This step is pushed over
to the right of the step above, directing movement; first
approach with the right foot, followed by the left. There
is a shadow gap underneath - another threshold. The
angled steps dictate the foot placement.
The diagonally-stepped stairs are steep and
uncomfortable to climb. The steps are built into the
thickness of the rampart, and this narrow, dark space
requires concentration to surmount. Due to the shape of the
steps, the tightness of the space, and the awkwardness of the
climb, vision tends to focus directly at the placement of feet,
while holding on tightly to the handrail. The board-marked
concrete wall to the left of the staircase ends level with the top
step. It is horizontally board-marked, giving the appearance
that it is part of the staircase insertion. On the right-hand
side, the wall extends upwards and is vertically board-marked
concrete, increasing the sense of the depth of the space, and
the heaviness of the rampart walls. Approaching the top of
the stairs, it starts to get brighter, but the gaze is still drawn
downwards. Upon reaching the top, the eye rises to discover
wide, bright, open views across the river and to the town
beyond. It is a surprise and contrast to the staircase, each
spatial experience heightening the other.

Brion Cemetery
Location : San Vito d'Altivole
Built: 1969 - 1978

When Giuseppe Brion died in 1968, his wife commissioned

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Scarpa to design a memorial to him on an L-shaped plot
of land wrapping around an existing cemetery. The plan
consists of a small chapel to the northwest, an arcosolium
set in the corner and a water pavilion at the southern end.
Scarpa raised the ground level by 75cm and placed an
inclined wall at 60 degrees around the perimeter, to maintain
privacy but to allow views of the surrounding countryside.
Brion Cemetery can be thought of as a series of thresholds;
the manipulation of ground level, the ambiguity between
internal and external spaces, and the metaphorical boundary
between this life and the next. The steps discussed bridge
the change in levels from the raised grass surrounding the
arcosolium to the path leading to the chapel.

Overlapping steps
The steps are set into a niche in the low wall, 'four,
overlapping, square steps, the borders of which, from
above, form a cross.'10 The steps are constructed from metal
trimmed concrete and are formed of two squares, set above
and below two rectangular steps. The poetic 'cross' is a
consequence of the positioning of the steps within the recess.
This overlapping allows one to climb the required height
difference of 705mm within a small area on plan. As with
the diagonally cut set of steps in Castelvecchio, Scarpa
dictates foot placement. As these steps are close together
and unusual, the eye is forced to look down at the feet,
emphasising the height climbed to the grass. The flight
is pushed back into the grass via a niche in the wall, so from
further down the path leading to the family tomb, the steps
are not visible and the wall reads as a continuous element.
They are, however, positioned directly in front of the path
coming from the chapel, thereby giving a clear line of sight
along this route. Each footfall mounting these steps is
audible, each emitting a different tone, announcing an
arrival into the main contemplative space.

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Conclusion

'Stair: Series of treads and risers, the two making a step,

in a flight of stairs, usually enclosed in a structure or cage
(staircase), providing access from one storey or floor to
another.'11 These are the fundamentals of stairs. Carlo

Scarpa takes each of these elements and manipulates how

the individual engages with them. Some of his staircases
facilitate a flow through, others lead you to climb in a
specific way; some extend the gaze, others focus on foot
placement. Scarpa was more than a master of details, he
was a choreographer of spatial sequence; leading the visitor
through a space or staircase, directing gaze and movement.
Some staircases are set pieces that are suspended in
space, not touching the surrounding walls or floors. Others
are more ambiguous about their role as ground and have
more to do with spatial continuity. Some staircases arrive all
at once; others layer over the existing and imply a chronology.
Scarpa carefully considers how a staircase begins and ends
- often extending an inviting step in order to lower the gaze
and emphasise the experience of stepping up and onto a
platform. This creates a boundary, or makes the stairs feel
like a 'room' in themselves; sometimes disengaging from
the space they lead from and to, and becoming another place.
On other occasions the start of a staircase is not exaggerated
and the intention is towards an awareness of the broader

enveloping space.
All the staircases are well crafted, resolved and
considered. However, there is an implied ad hoc composition
to some. It can feel like there is a mediation between two

found conditions. Scarpa creates these found conditions,

making fictitious narratives, yet treating them as long
standing fact. For example, the two steps up onto the raised
walkway in the Querini Stampalia feel quite makeshift,
similar to a rural stile. The overlapping steps in Brion
Cemetery are simiarly ambiguous in their origin and age.

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Here, the ground continues underneath while the steps
become protrusions in the niche of the wall. These steps are
of the wall rather than the ground. This sense of the ad hoc
is deceiving - everything is controlled by Scarpa. The stairs are
both generative and an afterthought; they feel consequential
to the floor but the floor also feels consequential to the stairs.
When a staircase mediates between two actual

found conditions, the result is more obviously coherent.

The staircases in Castelvecchio are each clear and distinct

interventions, which create specific spatial effects. This

coherency may be due to the presence of full flights of 14
steps or more, as the further you move vertically the more
consistent the spatial experience becomes.
The way in which Scarpa designed within 'found' spaces,
such as Castelvecchio, and in 'made' spaces, such as Brion
Cemetery, are quite similar. In both situations, everything
is made to feel like an intervention or a discrete piece in
a found space. The lack of differentiation between the two
conditions is intriguing.
Scarpa's ability to conceive both space and detail is made
explicit in his stairs. Scarpa rarely drew completed or final
drawings and instead illuminated the risk involved in the
translation from concept to construction by working closely
with craftsmen and adjusting designs on site. 'He was one
of the very few architects in the Western world for whom the
link between the designer's conception and the craftsman's
executing hand was indissoluble.'12 His control over detailing
and his collaboration with craftsmen produce highly tactile
and sensual spaces, 'it is quite impossible to visit a work
of Scarpa with [your] hands in your pockets.'13 Carlo Scarpa
created architecture for the senses; you cannot help but reach
out and touch as you step through these spaces.

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Images

Querini Stampalia, plan.

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Querini Stampalia, cascade of steps to the canal.

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Querini Stampalia, cascade of steps to the canal.

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 In the Steps of Scarpa 137

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 81 hi

□c.

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ir;;;;—

Left - Querini Stampalia, steps to the north east room. Right - Querini Stampalia,
stairs to the library.

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Castelvecchio, plan.

139
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Castelvecchio, concrete and diagonal steps.

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Castelvecchio, concrete and diagonal stairs, photographs of views.

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142 Building Material

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In the Steps of Scarpa 143

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Castelvecchio, concrete stairs, view from Cangrande bridge.

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Castelvecchio, concrete and diagonal stairs, view from top of the diagonal stairs.

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 m i i l j i jl j—i i t-n

ii

I ■=S

Brion Cemetery, plan.

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 4 3

2 1

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3.

2 I

Brion Cemetery, overlapping steps.

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Brion Cemetery, plan.

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Notes

1 Acqua alta is the high water in Vincenzo Bernardi, 2008, p. 24.

Venice that most commonly occurs
11 J. Stevens Curl, The Oxford
between autumn and spring, causing
the canals to overflow.
Dictionary of Architecture and
Landscape Architecture, Oxford,
2 R. Murphy, Querini Stampalia Oxford University Press, 2006,
Foundation, London, Phaidon Press, p. 735.
1993, p. 12.
12 M. Antonietta Crippa, Carlo
3 Istrian stone is a white, durable Scarpa Theory Design Projects,
stone quarried outside of Trieste. Cambridge, Mass., MIT Press,
1986, p. 6.
4 F. Dal Co and G. Mazzariol, Carlo
Scarpa: the complete works, New York, 13 A. Rudi in Carlo Scarpa -
Rizzoli, 1985, p. 197-198. A Profile, dir. Murray Grigor, UK,
Viz production for Channel 4,1995.
5 Exploded axonometric drawings
of the stairs intact with slabs laid

on top can be found in R. Murphy,

Querini Stampalia Foundation,
1993, and A. Schultz, Carlo Scarpa
Layers, 2010. However R. McCarter
in Carlo Scarpa, 2013, corrects this
misconception.

6 R. Murphy, Carlo Scarpa and the

Castelvecchio, London, Butterworth
Architecture, 1990, p. 99.

7 R. Murphy in Carlo Scarpa -

A Profile, dir. Murray Grigor, UK,
Viz production for Channel 4,1995.

8 Ibid.

9 R. Murphy, Carlo Scarpa and

the Castelvecchio, London,
Butterworth Architecture, 1990,
p. 100-101.

10 G. Pietropoli, E. Renai and C.

Zanarotti, Carlo Scarpa La tomba
Brion, Comune di Altivole, Grafiche

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