Describe about the Bibliography for A Welsh Folk Museum?
Project – Castel vecchio Museum
Location- Verona, Italy
Architect – Restoration by Carlo Scarpa
Built – 1958-64
Castel vecchio Museum is a museum in Verona, northern Italy, situated at the eponymous medieval castle. Restoration by the architect Carlo Scarpa, between 1959 and 1973, has enhanced the appearance of the building and exhibits. Scarpa’s unique architectural style is perceptible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork.
The museum displays a collection of sculpture, statues, paintings, ancient weapons, ceramics, gold works, miniatures and some old bells.
The castle vecchio museum is just not a simple restored building with arts work in it. It’s an assembly with everything worked out. This museum is included in Verona card and without that card it costs 6 EUR for its visiting which is assumed to be a fair price according to the numbers and quality of the artwork exhibited. The most important thing about this museum is its architecture. When seen from the top of one of the rowers the Verona can be seen easily.
The questions which I will be addressing are-
How architected the building of Castle vecchio museum.
Which type of architecture technology is used by the architecture?
Why the architect choose this museum for restoration.
Why this museum is so important.
The importance of castle vecchio museum is that this is a very old building built in the 14th century and that time it used as barracks during the wars and after that the famous architect Carlo Scarpa restored and redesigned this building and this became a museum for science. This is the largest museum in Italy as this has a variety of sculptures, frescos and paintings and most of these artworks are religious or spiritual theme.
Themes and issues about castle vecchio museum.
Addressing questions.
Importance of the castle vecchio museum.
Dissertation outline.
Executive summary.
Visual material.
Carlo scarpa done the work of restoration of the castle vecchio museum which was earlier a war barrack made in 14th century. The every part of this museum is designed and architected by the famous architect Carlo scarpa it is done during the period of 1958 to 1974.
Rooms of this museum are disposed as in any other museum, but the windows, the lamps and the stands for artworks have been all conceived by the genius of Carlo Scarpa. The floor is never linked in a straight line to the wall, as not to disturb, as leaving a space in the case the wall would like to move around or we, with our imagination, could not keep stable the walls.
The arches act like filters, from one room to the other. We notice that the main beam divides the roofing into two pieces and seems to indicate us the path to follow.
The way goes on throughout the exhibition without hitches, leaving us often speechless, guiding us onto the top of the surrounding walls, in a succession of spaces designed with masterly care.
Image: Inner architecture of the museum
The bells of the museum are designed to put alongside of the staircase in such a way that they seems like as they are perfectly positioned.
Image: Bells of the castle vecchio museum
By going to the sculpture of Can Grande della Scala and to the other art pieces exposed outside. We take the only possible way. It is 30 meters long and, in this space, we go on looking all around, keeping silence. While we are getting to the entrance, we perceive that something is changing, as if we are going higher. This sensation is due to the vegetation that lowers while we are moving on.
Iron beams are provided by the Carlo scarpa in order to support the roof structure. The beam is a double structured and a single piece is also mounted on the upper side of these double structured beams in order to evenly distribute and lessen the load on every beam.
Image: Beams of castle vecchio museum
Element, material or facade came close up to or occupied with another, there required to be a retort, a thicken or tapering, or solidifying, a texture change or smoothing, an understanding of which constituent is in the superiority.
The stairs are designed in such a way that there should be always a dim sunlight in order for proper visualization of the stairs. That’s why the Carlo Scarpa attached a holed window like pattern at the end of stairs. The stairs are made of red sandstone on the surface and black stone commonly known as granite on the side surfaces, For the purpose of better outfit and looking and polishing.
Image: Stairs of castle vecchio museum
The doors of castle vecchio museum made in such a way that they consist of double gates at each and every gate among them one is made of glass and the other is made of wood with rectangular blank holes provided in it. The gates are designed by keeping in mind the requirements of both better looking as well as security of the museum. Because of security purpose the wooden gates are provided with a high thickness level.
Image: Gates of castle Vecchio museum
The design was continually aiming to create a private experience between the viewer and the object, where the object is offered up as if in an outstretched hand, to facilitate a very personal interaction. We can see this in his earlier work at the Gallerie dell’Accademia in Venice, where he experimented with alternatives to the wall and the plinth and first introduced the beautifully detailed display easel.
Scarpa was constantly reinforcing the importance of the object in the way he displayed it, maximizing its own intrinsic worth — from the fixtures supporting the objects to the contrasting colored felts adjacent some of the paintings. Each work of art is displayed with fine distinction and sensitivity.
In the ground-floor sculpture galleries he formed a five-room enfilade, drawing visitors through each aperture with the use of large, thick, textured slabs of stone that clad the archways to create a more human scale to the dimensions of the passageway, matched to the spring line of the arches. As you walk through towards the first gallery from the museum entrance, you step onto a small hollow ramp that is rather like a drawbridge, a contrasting element to a raised solid gallery floor.
Everything is considered. In each of the somewhat asymmetric galleries, he has pulled the floor away from the obstruction to set up his own geometrical lattice and used irregular bands of concrete and stone, set at various widths to suit the displays. As horizontals, running across the gallery floor, they purposely slow you down on your way through, and set up a fresh controlled dynamic for the objects to function within. Sometimes Carlo Scarpa worked with the floor banding in the design of the displays, sometimes across them. At the walls, he carefully wrapped the stone edge of the new layer of floor into the recessed channel as if to embed it, so that it didn’t appear as if the new surface had just been dropped in randomly.
The sacellum, which protrudes from slightly inside the gallery into the courtyard, shows the depth of thinking behind the design. It clearly reads as a new intervention and feels like stepping into a polished plaster box, with rich red floor covering used to suit the more cherished dimensions of the space. The display of each object is meticulously considered. The leg of the nearest present cabinet, for example, is not allowed to come down arbitrarily onto the floor, but instead Scarpa positioned it so that it suited the section of the floor and was clearly part of the new layer of involvement he was creating at Castel vecchio museum.
Image: castle vecchio museum outer look
Image: View from top side of castle vecchio museum
Image: Inner beam supporting and stair visualization
References: –
A welsh folk museum: st. Fagans castle In-text: (A Welsh Folk Museum: St. Fagans Castle, 1946) Bibliography: A Welsh Folk Museum: St. Fagans Castle. (1946). Nature, 158(4022), pp.783-784.
ALEXANDER, C. An Attic Relief from Lowther Castle In-text: (Alexander, 1949) Bibliography: Alexander, C. (1949). An Attic Relief from Lowther Castle. The Metropolitan Museum of Art Bulletin, 7(6), p.162.
BERGSTRÖM, C. M. Skokloster Castle – one of the world’s foremost Baroque museums In-text: (Bergström, 2001) Bibliography: Bergström, C. (2001). Skokloster Castle – one of the world’s foremost Baroque museums. Museum International, 53(2), pp.36-40.
BRUCE-MITFORD, R. L. S. The Castle Eden Vase In-text: (Bruce-Mitford, 1941) Bibliography: Bruce-Mitford, R. (1941). The Castle Eden Vase. The British Museum Quarterly, 15, p.73.
BRUNO, A. Rivoli – a castle for contemporary art In-text: (Bruno, 1986) Bibliography: Bruno, A. (1986). Rivoli – a castle for contemporary art. Museum International, 38(1), pp.4-8.
CARTER, J., CASTLE, C. AND SOREN, B. Taking stock: museum studies and museum practices in Canada In-text: (Carter, Castle and Soren, 2011) Bibliography: Carter, J., Castle, C. and Soren, B. (2011). Taking stock: museum studies and museum practices in Canada. Museum Management and Curatorship, 26(5), pp.415-420.
CASTLE, M. Blending Pedagogy and Content: A New Curriculum for Museum Teachers In-text: (Castle, 2006) Bibliography: Castle, M. (2006). Blending Pedagogy and Content: A New Curriculum for Museum Teachers. Journal of Museum Education, 31(2), pp.123-132.
FLOWER, R. The Wyatts of Allington Castle In-text: (Flower, 1935) Bibliography: Flower, R. (1935). The Wyatts of Allington Castle. The British Museum Quarterly, 9(4), p.117.
GRABOWSKA, J. The exhibition of amber in the Malbork Castle Museum In-text: (Grabowska, 1966) Bibliography: Grabowska, J. (1966). The exhibition of amber in the Malbork Castle Museum. Museum International, 19(2), pp.125-128.
HISTORICAL MUSEUM IN CAPE COAST CASTLE In-text: (Historical Museum in Cape Coast Castle, 1971) Bibliography: Historical Museum in Cape Coast Castle. (1971). Africa, 41(02), p.160.
IOANNIDES, M. Progress in cultural heritage preservation In-text: (Ioannides, 2012) Bibliography: Ioannides, M. (2012). Progress in cultural heritage preservation. Heidelberg: Springer.
KRAUEL, J. AND OCKRASSA, A. New concepts in renovating In-text: (Krauel and Ockrassa, 2005) Bibliography: Krauel, J. and Ockrassa, A. (2005). New concepts in renovating. Singapore: Page One.
KRCALOVÀ, J. The Prague Castle Picture Gallery In-text: (Krcalovà, 1966) Bibliography: Krcalovà, J. (1966). The Prague Castle Picture Gallery. Museum International, 19(1), pp.31-38.
MCLAUGHLIN, C. Rethinking Visual Anthropology:Rethinking Visual Anthropology In-text: (Mclaughlin, 1999) Bibliography: Mclaughlin, C. (1999). Rethinking Visual Anthropology:Rethinking Visual Anthropology. Museum Anthropology, 22(3), pp.71-73.
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