Richard Murphy and Carlo Scarpa: A Regional-Modernist Dialogue

Stephanie Else 090004651

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Contents

Abstract

Introduction

Architecture in Detail
4.1 Site: Topography

1.1 Context

4.2 Threshold

11

1.2 Subtext

4.3 Materiality

13

1.3 Focus

1.4 Murphy: as Architect

1.5 Scarpa: as Architect

A Regionalist Approach
2.1 Regionalism versus Vernacular

2.2 The Language of Buildings

2.3 The City: Regional Stratification

Architecture in Principle
3.1 Layers in History

3.2 Venice

3.3 Scarpas Lessons

Conclusion

17

References

18

Bibliography

20

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Abstract
Currently, we inhabit a world in which globalisation is becoming a progressively
dominant phenomenon. It is becoming increasingly accepted that a uniform,
global, architecture is inappropriate in responding to the varied rich, diverse
regional variations and cultures. Often, it is the architecture of a region which defines
its place within the world.
As such, current thinking suggests that globalisation threatens to eclipse the idea of
the locale entirely. Within the built environment there is a responsibility to resists
these global pressures.
Characterised by the parameters of context, a regionalist architecture signifies the
exclusivity of a place.
This paper, through a comparative analysis of two exemplary regional-modernists,
Richard Murphy and Carlo Scarpa, will investigate the reasoning and arguments of
their work and its relationship to contemporary architectural regionalism;
underpinning the necessity for regionalism as an approach within architecture.
Articulated within their works is a language which, in its sensitivity to place, is
timeless. Ultimately, it is the vivid dialogue which exists between the two architects
which is the focus of this paper.

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Introduction

1.2 Subtext: Regionalism, an Architecture of Place

Regionalism is a fundamental concept which aims to maintain, and sometimes

Regionalism is never a singular theory or practice but is most often a means by

restore, cultural idiosyncrasies. Importantly, it resists the pressures of globalisation.

which tensions such as those between globalisation and localism, modernity and

Often a balance is sought to adapt certain global ideas, such as the integration of

tradition are resolved.

technology, with a distinct relation to the existing characteristics of a locale: the

(Canizaro 2007)

1.1 Context
The world which exists today is a world of increasing contemporary globalisation1.

latter compelling the former. There is an implicit requirement of the legitimacy of

architecture within its local context. As such, regionalism aims to enhance the
locality: culturally, historically and socially. Thus it maintains identity. Ultimately, an
architecture of place can be made manifest within such a globalised world. This is

With the relatively recent exponential expansion of industry and commerce, in

only achievable though, if the architect is willing to accept that this concept is

architecture, the concept of mass production and the standardisation of products

fundamental in preventing a world in which there exists a single globalised culture.

specifically, there is an ever decreasing identity of place. However, there is

efficiency at its core. This effect has certainly become the crux of existing societies.

1.3 Focus

The world today demands such a high level of fast-paced affordable production that

The architects, Carlo Scarpa and Richard Murphy, are exemplary in their regional -

efficiency is necessary. Globalisation, typically, produces uniformity in its language;

modernist approach to architecture. Their approach is maintained primarily through

ultimately though, this does often result in the loss of cultural identity.

the concept of layering an idea which is fundamental in the creation of an

architecture of place. This concept is vast in its complexities and will be explored
with particular emphasis on the work of Richard Murphy.

It has been well documented that globalisation in architecture is a phenomenon which

began in the 1950s and 60s. However, Anthony King (Herrle 2008) maintains the argument
that globalisation is actually not a relatively new concept. He argues that, historically,
th
humanity has always been influenced by globalism. He highlights, specifically, in the 16
th
and 17 centuries, the impact of Renaissance planning and design on European colonial
cities.

Murphys thorough academic studies into the work of Scarpa have had an immense
influence on his own architectural principles, which can, at times, be explicitly
observed within his work. Significantly though, each architect has his own

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architectural language whose development can be traced back through to the

The specific materiality which might have established a building within its context is

essential element of place. Indeed, Murphys Scottish regionalism, and Scarpas

losing its relevance. Currently, globalised urban environments are materialising. A

Venetian regionalism ultimately define the differences in the language of their

citys identity is fast becoming obscured by the calamitous nature of what many

architecture.

deem to be modern architecture. Architecture is losing its authenticity by falsifying

Thus far, Murphys affinity with Carlo Scarpa has been well-referenced. However, an
in-depth direct comparative analysis of the ideologies and principles of the two, has
not, to current knowledge, been undertaken.

itself within its context as, often, architects feel compelled to make a statement by
creating something quite alien within its surroundings. Daniel Libeskinds
deconstructavist approach provides compelling evidence of this. [Fig.1]

The intent then, is to explore the dialogue between the two architects. With emphasis
on tracing a narrative through Murphys buildings alongside Scarpas ideals, the
dialogue will become apparent: rich in its moments of synchronicity and equally so
where divergence occurs.
1.4 Murphy: as Architect
Fig. 1

Saying that architecture should be of its own time may be stating the obviousbut
todayfor a city to be a living organism it must accept the architecture of its own
time; to make history for future generations and to enrich rather than disrupt its
context.

Ironically, Murphy excels by doing precisely the opposite: his forte is not making a
statement. His is an architecture which responds directly to place. [Fig.2]
His architecture might be clarified as a series of contrasts. Having worked on

Richard Murphy

Richard Murphy has a very clear understanding of the world in which we dwell. Most
significantly, he understands the impact of the effects of globalisation within the
built environment.

Fig. 2

several intervention projects, where the architect is forced to work with what is
already there, he has developed a rich, meaningful architectural language. Clarifying
the new alongside the old, successfully, is not an easy task. Like Scarpa though,
Murphy conveys this quite effortlessly.

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His architectural language is holistic in the respect that a single idea can be traced
from its conceptualisation right through to the finest of details. This method,
specifically, is one on which Carlo Scarpa has had the greatest of influence.
1.5 Scarpa: as Architect

A Regionalist Approach
2.1 Regionalism versus Vernacular
Canizaro (2007) compares regionalism and the vernacular. He states that where
the vernacular is a necessary response to the specificity of local conditions social,

Carlo Scarpa [1906 1978], at base, can be described as an architect craftsman.

climatic, topographic regionalism is voluntary: a series of architectural theories

Stimulated by his environment; historic Venezia. In 2010, Ann-Catrin Shultz

employed. Kenneth Frampton reinforces this concept;

published a book entitled Carlo Scarpa: Layers. In it, she comprehensively explores

Regionalism has dominated architecture in almost all countries at some timeBy

Scarpas affinity with the concept of stratification within architecture. This is an

way of general definition we can say that it upholds the individual and local

exceptionally vast topic which extends beyond the scope of this paper. However,

architectonic features against more universal and abstract ones.

this concept will be explored in respect to the dialogue which exists between Scarpa
and Murphy.

As Frampton understands it, there is an inherent strength within regionalist

ideologies which are capable of sustaining the credibility of the locale within the

Scarpas architecture, like Murphys is made manifest entirely by the environment in

global.

which it is situated. The historicism of Venice has compelled his entire ethos.
Furthermore, concerned with the tectonics of architecture, the legibility and

Vernacular architecture conversely, is the result of a dynamic cultural process.

assemblage of elements, Scarpa sustains an architectural language which is, in

Crucially, it is the culturally syncretic response to various regional filters which

effect, timeless.

ultimately dictate the outcome. (Heath 2009) These filters describe the collective
regional forces acting on a particular place, such as; temporal and topographical

Typically then, there is a contemporary relevance within Scarpas ideologies.

conditions, cultural memory and tradition, materiality. Ultimately it is the

stratification of these elements which permit a situated regionalism. Within the
work of Scarpa and Murphy, the concept of architecture as a series of layers,
inclusive of the aforementioned regional filters, is paramount.

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Significantly, the architectural vernacular provides cohesion and a subsequent
contextual narrative which is regionally comprehensive.

2.2 The Language of Buildings

An architecture of its own time and place: a testimonial which somehow pervades

This developing, regionalist, architectural language is as vast in its complexities as

the architectural psyche. In much of the architecture produced today however, there

the spoken word. It is however, important to place emphasis on the global

is little evidence of a response to this. What must surely then be ascertained is why

comprehension of this language. Crucially, this understanding is made possible

this is. For, embedded within the Murphy/Scarpa dialogue is a fundamental

through the existence of architecture pertaining to place and locale: the linguistic

response to place.

variety within architecture made manifest by social circumstance. The Italian

architect Vittorio Gregotti reinforces this concept, upholding the view that it is
architecture itself that needs, for its very production, the material represented by
social relations. (Frampton 1996) In order to facilitate an understanding of the
global, it is paramount to first appreciate the uniqueness of identity pertaining to the
local. Regionalism is the fundamental characterisation of a societys place within the

Analogy is important here: the appropriation of dialogue within architecture is

crucial. There is a language which exists between a building and its context, the
legitimacy of which is determined by the appropriateness of the architecture.
Engaged within this language are the communities, the people, by which
architecture is intended.

world. Recognisable within Murphy and Scarpas ideologies, regionalism forms the

Further to this, Unwin (2009) draws a distinct comparison between the idea of

base strata.

place and language:

Contemporary regionalism, it seems, is a necessary ideology which enables the

preservation of the smaller, yet most significant, existing cultural and social varieties
within the vast spread of globalisation. The significance lies in the clarification of the
micro, the local, within the macro, the global. Conclusively, the local is what
constitutes the global whole.

Place is to architecture, it may be said, as meaning is to language

Ultimately, it can be surmised that place is the generator of the architectural
language. Just as language is a composition of words, the vocabulary of architecture
can be read as the fundamentals: roof, wall and floor. Where Scarpa and Murphy are
concerned, each architect has their own distinct language due to regional
specificities. Inherent between the two however, is a dialogue. Within Murphys
architecture are the lessons of Scarpa.

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2.3 The City: Regional Stratification

Architecture in Principle

The experience and memory of humankind are laid down in layers in the physical
environment, concretely and graphically. Every new part exploits ancient forms,
materials and ways of making. Building is, at base, a sign of hope, a sign of

History, crucially, is not solely about the past. It is the signifier of growth: of
evolution. Evidently the past is the sculptor of the present, and of the future.

societys belief in future, a gesture forward in time.

Marja-Ritta Norri

Both Murphy and Scarpa base their entire architectural philosophies on the
existence of the layers inherent within place; within society. Although regional
specificities dictate the differences between their resulting architectural languages,
their shared belief in an architecture which is forward thinking is clarified by
Murphys assertion that a city must embrace the architecture of its time, in order to
make history for future generations. (Weston et al 2001)
There is a complexity within cities. Through time, rapid social, cultural and
economic developments cause cities to expand exponentially. As such the
numerous strata constituting these dense urban environments is evident, particularly
so within cities enriched by their history. As regional-modernists, Scarpa and
Murphy each from a city whose complexities are profound, Venice and Edinburgh
respectively, there exists an affinity between architect and environment. Through the
refinement of a citys inherent complexities there is the establishment of a syncretic,
contextually rooted architecture.

3.1 Layers in History

At its core, the formation of a city over a prolonged period of time is the essential
element in shaping the architectural vernacular. As discussed, there is consistency
within the regional filters which define the fundamentals of a vernacular architecture.
While this is true, time also permits evolution within societies. Ultimately, it is social
progression which dictates change within the vernacular form. The input of the
individual, especially, is the heart of an architecture of experience. Within the
regional-modernist mechanisms of Scarpa and Murphy, this concept is absolute.
For both architects, the city is in essence, their architectural palette. Regional filters
can be rendered as the primary; their subjective input, the secondary. As architects,
both ultimately, are sculptors of their environment.
3.2 Venice
Within the historicism of Venice are numerous strata. Through a holistic
understanding of the qualitative elements, Scarpa had the ability to develop an
architecture whose contemporary language can be read as an evolution of the citys
history and regional specificities.

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Historically, due to its complete inaccessibility, Venice was unaffected by the

Similar ideologies can be traced as a narrative through the works of Murphy.

machine age. As such, the absence of industrialisation is a resonant factor within the

However, the emerging dialogue between the two architects becomes especially rich

city. Globally, cities are governed by the existence of the motor vehicle. Venice

where the parameters of place are made evident within their linguistic divergences.

however, is effectively a pedestrian city: a design parameter in which Scarpa

Typically, the horizontality of Venice is a direct contrast to the vertiginous nature of

revelled. This inaccessibility, of course, is due to the geographical positioning of the

Edinburgh. Both limited however, by natural parameters; the alluring waters of the

city. Situated with a large body of water, separated entirely from mainland Italy,

Venetian Lagoon and the challenging mountainous landscape of Scotland.

Venice is primarily characterised by its canalled system. Constructed at water level,

the city is often seen to be living constantly on its nerves (Murphy 1993) as the
aqua alta, high water, is a regular occurrence. Certainly, the citys horizontality is
tantalising to observe; the street plane is at once solid ground and waterway.

Typified by their respective constraints, Scarpa and Murphy separately maintain their
own architectural narratives. There is strength, though, evident in their combined
dialogue particularly within the juxtaposition of certain design outcomes.

Simultaneously, the water defines and percolates the city.

3.3 Scarpas Lessons

Scarpa was at once an architect of his time, and an architect ahead of his time. The

Richard Murphy has often acknowledged his great affinity with Scarpa and has made

articulation of his architectural language is an enrichment of the Venetian identity. An

clear the influences which have manifested themselves within his own architecture:

identity wrought by the materiality and geography, and significantly, the special light

in principle and in practice. Scarpas influences extend beyond the end product;

which permeates the city.

just as Murphys ideals are inclusive of the design process and ultimately, the

Above all, Scarpa recognised these place defining elements as being intrinsic to
the nature of the subjective architectural experience. According to Mazzariol et al
(1987) Scarpa was not interested in the randomPlace meant the space where

refinement of an idea within the detail. Indeed it is Scarpas methodology,

specifically the evolution of an idea, whose narrative can be read from beginning to
end, which is perhaps most evident within the works of Murphy.

some rite was made manifest. Certainly, his is an architecture of experience within

Like Scarpa, Murphys absolution in the importance of place permits the subtle

which the ideologies of regionalism are strengthened.

fusion of ideals. In evidence, it is the adaptation of Scarpas ideas which makes

Murphys architecture his own. It is not a case of an application of ideas, but rather

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an understanding of Scarpas reasoning which Murphy has allowed to influence the
language of his own architecture.

Architecture in Detail
In order to provide clarification of the modern regionalist approach by Scarpa and

Murphys Scottish regionalism retains similar qualities to that of Scarpas Venetian

Murphy, this chapter provides a thorough exploration of their ideologies within

regionalism, with innovation pervading the architectural vernacular. Murphy is

selected works. Modern regionalism, typically, can best be observed within the

responsive to both time and place. He recognises that while lessons from the past

contemporary development of an existing building. As such, to further convey the

can be relevant in the present, they are not absolute. Mazzariol (1987) describes

rich dialogue between the architects, the selected works all fall within the spectrum

Scarpas parallel approach: he used a contemporary language appropriate for 1968,

of intervention2.

but the intention was to recompose a previous reality and send it on, to recommend
and entrust it to a future time. Murphys innovation and ability to understand the

4.1 Site: Topography

appropriateness of the built environment with relation to its current social context,

If a building sits within its site, particularly where there are changes in the

further enriches his language within the mainstream Scottish architectural tradition:

topography, it immediately has a convincing contextual basis on which to further

a language even more firmly anchored to that sense of place. (Weston et al 2001)

develop the design. If the hypothetical site were to be entirely levelled out the idea

Kenneth Framptons essay Towards a Critical Regionalism: Six Points for an

Architecture of Resistance, (Foster1990), describes how it is necessary to

of place becomes practically obsolete. Kenneth Frampton (Foster1990) further

discusses this concept with reference to the Swiss architect, Mario Botta:

distinguish between Critical Regionalism and simple-minded attempts to revive the

The bulldozing of an irregular topography into a flat site is clearly a technocratic

hypothetical forms of a lost vernacular. The term Critical Regionalism, in his view,

gesture which aspires to a condition of absolute placelessnessthe terracing of

is reliant upon the deconstruction of the world culture. It is defined by place-form -

the same site to receive the stepped form of a building is an engagement in the act
of cultivating the site. It evokes the method alluded to by Mario Botta as building

topography, context, climate, light, tactility and tectonic form. (Mallgrave and

the site.

Goodman 2011) All of which constitute the reasoning of both Murphy and Scarpa.
Essentially, though, it is the site which is the basis for the creation of an architecture
of place.
2

Intervention: in architecture, this is termed as the placement of a contemporary

insertion alongside or within an existing building.

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Richard Murphys Dundee Contemporary Arts Centre [DCA] completed in 1999, is
perhaps the most appropriate example of contention with topography. The L-shaped,
multi-function arts building contends with an eight metre fall between the entrance
level to the north and the rear of the building. There are five stories arranged within,
with only two levels evident upon entry from the north side. [Fig.3] Successful in its
subtleties, Richard Carrs article entitled Vertical Hold (1999) is apt: Murphy
utilises the stepped, exterior spatial conditions with a central spill out space,
accessible from the caf area within. This space is further stepped and wrapped
around the building to the lower level surrounding the university galleries. An

Fig. 3

Fig. 4

Certainly, Murphys delicate response to site establishes and expresses the

buildings appropriateness within its context.

elegant public throughway from north to south is therefore permitted. Inside, Murphy

Carlo Scarpa similarly adopts the approach of layering into the site. Working in

exploits the change in level with a dramatic staircase dominating the central public

Venice however, where the city is very much a horizontal entity compared with the

entrance level; this further acts as an extension to the street outside, seamlessly

verticality of the Scottish cities of Dundee and Edinburgh, Scarpas response differs.

drawing the public into the depths of the building. [Fig.4] Carr (1999) suggests that

Instead his is an approach to floor planes; maintaining the horizontality of the site.

it is experience from working in vertiginous Edinburgh which has permitted

Murphys subtle solution to the complex site. Further to this, Frampton ascertains
that:

Within his project for the renovation of the Querini Stampalia Foundation (1963), the
adjustment of various elements within the floor plane are a necessary geographical
response; designed to allow water from the adjacent canal to penetrate the building

The specific culture of a region becomes inscribed into the form and realisation of

in the event of potential flooding the aqua alta. In the entrance area, the upper floor

the workwhich arises out of in-laying the building into the site. It has the

plane maintains a raised border over which a lower floor stratum is visible:

capacity to embody, in built form, the prehistory of the place and its subsequent

essentially, a moat. When there is a flood, the floor in this room consists of a

cultivation and transformation across time. Through this layering into the site the

concrete plane, a layer of water, and a raised concrete slab covered with marble

idiosyncrasies of place find their expression without falling into sentimentality

mosaic. [Fig. 5, 6] (Shultz 2010) At once, Scarpa merges topographical strata with

(Foster 1990)

material strata. His anticipation of changing conditions is evidence of the buildings

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unique characterisation as a direct response its geographical situation. Richard

Architecture is entirely experiential. Buildings characterise the atmospheric

Murphy (1993) himself describes the intention of Scarpas symbolism, of Venices

properties of a place. Significantly, they direct the flow of people. If one considers

dominance of the waters.

the street for example, it is entirely defined by the built environment. The expansion
and contraction of spaces is didactic; where tight alleyways lead to narrow lanes;
busy vehicular routes link to pedestrian boulevards. [Fig.7] Within this spatial
sequence transition is key. It is a necessary layer which permits cohesion. Where
architectural intervention is concerned, the creation of a transitional space is
fundamental in the evolution of the architectural language. A space between the new
Fig. 5

Fig. 6

In response to existing topographical conditions, whether through the extension of

and the old is simultaneously part of both, and part of neither. Crucially though, it
aids the integration between the conflicting elements. [Fig.8]

floor planes or by way of Murphys vertical extrusions, this regional detailing

provides definition for the structure of space surrounding and pervading the
building.
Ultimately, the specificity of site is the primary dictator of the explicit and implicit
properties of route.

Fig. 7

Fig. 8

As human beings, the act of transition has an immense effect on the subjective

4.2 Threshold
Experiencing products of architecture involves movement. One passes from
outside to inside through the serial stages of a route a place where one stops -

experience. This occurs both externally and internally. In the design of a building,
both are equally fundamental.

these may be called static places. But the pathway from one static place to another

Architecturally, it is important to understand the prospective experiential qualities of

is a place too a dynamic place.

a space. There is always the contention, for example, with the unfamiliarity of a
(Unwin 2009)

place. It is in the care of the architect then, to ensure as much as is permitted, an

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openness within public buildings. Initially, this issue can be lessened with the

element also provides an extension of a building over the street. Edinburghs

effective extension of what is, categorically, a familiar part of the public realm: the

Fruitmarket gallery is situated directly off a main street. The canopy is subtle, yet the

street.

impression of precinct is still apparent. The scale of the DCA meanwhile, allows the

Importantly, a transitional space may often occur before entering a building

typically, an entrance courtyard. However, this space may not necessarily be entirely
enclosed: simply an area which one steps off the street into the realm of the

building to use both as well as having a significant precinct, it also employs a

canopy over the main entrance. Each of these elements significantly increases the
dynamism of the space between.

building. Certainly, Murphy often employs this tactic. His DCA, for instance, is
partially pulled back from the busyness of a main vehicular route into the city centre.
This simple move creates what is effectively a secondary pedestrian area, belonging
to the building: a precinct, which, as Murphy ascertains, gives breathing space to
the street edge. [Fig.9] (Weston et al 2001)
The idea of an entrance transitional space is not confined to the groundscape;
roofscape can also provide a similar experience: the use of canopy is a fundamental
transitional element. Employed, typically, as a response to climatic conditions, the

Fig.10

Fig.11

Further to this, parallels can be drawn alongside Scarpas entrance space at the
Querini Stampalia.
Similarly to the Fruitmarket Gallery, the Querini Stampalia sits quietly in its context,
maintaining the likeness of the surrounding facades. The canalled system however,
is ever present; where Murphys galleries are concerned with the street, Scarpa is
concerned with the water. Indeed, the entrance to the building is quite special, and
certainly well defined: the threshold between street and building is made manifest
by an elegantly designed bridge. The Scarpa-esque detailing is an event in itself: it
signifies the crossing literally and metaphorically between old Venezia and the

Fig. 9

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unique Scarpa intervention. Frampton (1996) describes the bridge as a fixed hinge;

4.3 Materiality

apt in its tectonic properties. Perhaps even more significantly, is the evident

Concrete and time-bound, heterogeneous and particular, our feeling for place

appreciation of the horizontality of street meeting the abrupt verticality of the palace

space humanised as the Dutch architect Aldo van Eyck defined it is grounded in

faade. Subsequently, the considerable height difference between street and

our bodily experience of the world. It is therefore inescapably material.

building threshold dictates the asymmetrical camber of the bridge. (Murphy 1993)
(Weston 2008)

As with any intervention project, there is a fine line between the creation of a
contemporary architectural language and the existing. Each is held in significant

The properties and application of material within the works of Murphy and Scarpa are

juxtaposition with the other. Scarpa, typically, succeeds in clarifying the new

of the utmost importance. Typically, the inherent materiality within their respective

alongside the old. The fundamental bridge element respects the existing, but does

regions further enriches their architectural palette. Within their separate narratives,

not replicate. As such, there is an entirely new and unique transitional experience

the tactile qualities of material are most significant; its visual and physical properties

enhanced by its apposition.

fundamental in the evocation of the initial emotional response. Within his

Thus far, the concept of threshold has been discussed with primary reference to the
properties of physical barriers. Further to this, materiality and light can also be
highly indicative of threshold.

publication De Architectura, Vitruvius asserts the three fundamental elements within

architecture; firmitas, utilitas and venustas3. The significance of materiality within the
latter is profound.
In utilising the materials appropriated to a region, the architect is able to further
sustain a new architectural language alongside the existing. By way of innovation in
the application of material, the architect is able to develop his dialogue and as such
provide enrichment within its context. The advancement in technology, a benefit of
globalisation, permits this innovation. Contrary to this, Frampton (1996) upholds
the view that technology, as the maximisation of industrial production, excludes

Fig. 12

Fig. 13

Firmitas, utilitas, venustas [Latin]: translation by Sir Henry Wotton; firmness,

commodity, delight

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architecture as craft and as an act of place creation from the process. Within the
works of Murphy and Scarpa, this statement can be disproved. Inherent within their
work is the subtle integration of modern technologies as a means by which
innovation and revitalisation of tradition can be achieved.
Scarpa, particularly, had an affinity with the unconventional sculpting of material. He
immensely enjoyed the play of the perception of material. In the Querini Stampalia,
the stonework can be perceived at once as simple cladding and then as a kind of
wood. (Shultz 2010) The travertine, cut as a panel, is ingrained with the visual
properties appropriated to timber panelling. [Fig.15] For Scarpa, however, the real
masterstroke manifests itself within the articulation of material as a space defining
element.

Fig. 14

Fig. 15

Richard Weston (2008) describes the impact of challenging the natural climatic and
temporal filters with specific reference to the white architecture of the International
Style4. Within this style there existed a high maintenance demand in order to
sustain the intended pristine architectural image, unaffected by the course of time.
Conversely, both Murphy and Scarpa uphold a positive preoccupation with time as

As a systematic series of planes, there is at once a simplicity and complexity within

a tool with which they permit a natural evolution in a buildings dialogue. Key social

the architectural language. The complexities lie within the methodical arrangement

thinkers, John Ruskin and William Morris also shared this attitude. Morris,

and application of material within the planarity of the building. Materiality is

particularly, argued that there should be clarity in the definition of what is new, and

ultimately the transposition of separation and cohesion within the buildings

what is old. (Weston 2008) Certainly, the stratification of elements facilitates this

vocabulary: roof, wall and floor plane. Each defined as separate entities, yet

clarification.

described as part of the whole. [Fig.14]

Murphys DCA is exemplary in adopting the principle of layering the faade. The

In his work there pervades a disjunctive narrative in which what is, is always

intervention with an existing brick warehouse is evident with the retention of its shell.

accompanied by what has been and what might have been.(Frampton 1996)This

However, being largely a contemporary insertion, Murphy provides legibility

assertion by Frampton, determines the intrinsic, holistic ethos embedded within

between the old and new through the literal separation of material. The historic brick

Scarpas dialectical works.

4

Weston refers to Le Corbusiers time defying aspirations of his Purist Villas.

15
shell, pulled away from the contemporary pre-patinated copper cladding has the

fundamental handrail, while the adjoining teak and brass equivalent provides the

resultant effect of one material slipping seamlessly past the other. Murphys

integral tactility required of such a device. 5 Where the two are connected the

integrative approach allows the inclusion of white render as a mediator; softened by

junction is paramount. Pairs of steel flat bars conclude the composition, evidence of

the inherent tactility of the copper and brick. [Fig.16] Within this separation, there is

Scarpas adoration of the joint6. (Murphy 1993)

an honesty. Murphy clarifies the structural properties of the material, specifically,

the brick wall as an evident non loadbearing element.

Fig.18

Fig. 19

Inherent within the intervention projects as discussed, is the ability to provide a clear
Fig. 16

Fig. 17

Glass and steel are employed with the same intention and with equal success in
Murphys Fruitmarket Gallery. The existing stonework having been largely retained,
sustains the secondary layer of steel structure within which there is the integration of
a hoist and sliding glass screen. [Fig.17] Expression of structure, evident at a larger
scale within the works of Murphy, can similarly be observed in Scarpas detailing.
The bridge at the Querini Stampalia contains a dialogue almost entirely its own.
Initially, the purpose for what appears to be a twin handrail is perplexing. However,

distinction between the numerous strata, of which the ultimate sculptor is light.
Wholly place specific, the tonality of light in Venice differs entirely to that in
Scotland. However, the principles in utilising the element remain constant.
Typically, it signifies reassurance within the public domain. As such, it is often
employed as a guiding element through the depths of a building: a principle evident
in Murphys galleries. [Fig. 20, 21]
Light, in its ability to transform spatial perception, is the ultimate element which the
architect must master.

in recollection of Scarpas meticulous craftsmanship, the reasoning becomes

evident. Structural necessity dictates the form. The steel uprights configure the

This same principle is evident also within the work of the Finnish architect Alvar Aalto;
his iconic leather-bound door handles specifically. (Weston 2008)
6
As Frampton (1996) so entitles his chapter on Scarpa.

16

Designing a space is designing light. Without light there is no architecture.

Louis Kahn

Fig. 20

Fig. 21

17
Conclusion
Within the dialogue which exists between Richard Murphy and Carlo Scarpa, there is
an inherent linguistic cohesion between architect and place. Arguably, Scarpa was
one of the first regional-modernists. His architectural language is, typically, the
evolution of his great affinity with the city of Venice. Through his accentuation of the
idiosyncrasies within Venetian culture he was able to produce an architecture whose
relevance pervades time.
Scarpas ideologies, as such, embed themselves within contemporary architecture.
The principles within Murphys regionalist approach are evidence of this. Indeed, it
is the constant underlying factor of place and subsequent regional specificities
which enable the existence of the vivid dialogue.
Regionalism within architecture, significantly, sustains the locale. It reasserts the
importance of cultural identity within our increasingly globalised world. Ultimately, it
sustains the diversity which formulates our global identity and world culture.
Ours is a world in which cultural divergences signify our exclusivity as a whole.

18
References

Shultz, A-C. (2010) Carlo Scarpa: Layers. London: Axel Menges

A.J. Murphys Magic (1999) The Architects Journal. (April) pp. 26 33

Unwin, S. (2009) Analysing Architecture. Oxon: Routledge

Canizaro, V.B. (2007) Architectural Regionalism: Collected Writings on Place,

Identity, Modernity and Traditon. New York: Princeton Architectural Press

Weston, R. (2008) Material, Form and Architecture. London: Laurence King

Publishing

Carr, R. (1999) Vertical Hold. Building Design. (March)

Weston, R. et al. (2001) Richard Murphy Architects: Ten Years of Practice.

Edinburgh: Fruitmarket Gallery

Crippa, M.A. (1986) Carlo Scarpa: Theory, Design, Projects. Cambridge: MIT Press
Dal Co, F. and Mazzariol, G. (1987) Carlo Scarpa: The Complete Works. Great
Britain: The Architectural Press

Images

Foster, H. (1990) Postmodern Culture. London: Pluto Press

Brown, T. Figure 6. Querini Stampalia Foundation[online] Available at:

http://www.flickriver.com/photos/atelier_flir/tags/architecture/ [accessed on 8
January 2012

Frampton, K. (1996) Studies in Tectonic Culture. Cambridge: MIT Press

Else, S. Figures 8 and 9. Own diagrams.

Heath, K. Wm. (2009) Vernacular Architecture and Regional Design: Cultural Process
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Mallgrave, H.F. and Goodman, D. (2011) An Introduction to Architectural Theory:

1968 Present. Chichester: Wiley-Blackwell Publishing
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Figure 10. Fruitmarket Gallery [online] Available at:

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19
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20
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