This book analyses not just Scarpa’s work as we find it today, and in great detail, but also introduces the reader to the complex history of the building as well as sequences of Scarpa’s own highly revealing drawings; witnesses to a brilliant curiosity and holistic approach to design where the art and architecture are completely complimentary.

Richard Murphy surveyed the whole building in 1986, and later interviewed many of Scarpa’s collaborators, including his craftsmen, and analysed all Scarpa’s drawings leading to three exhibitions and a book published in 1990. However, Carlo Scarpa and Castelvecchio Revisited is in many ways unrecognizable from its predecessor. It is neither a second edition nor is it a completely new analysis. It has started with the 1990 publication but the format is larger and 198 pages have grown to 384. Almost twice as many Scarpa drawings have been selected (some were unknown in 1990), and this time they are printed in colour with a reference system to guide the reader to details within them. Large sections of the accompanying text have been rewritten and expanded and there are two new chapters. Perhaps most importantly there are many more photographs, both of the building at various phases of its complex life but also superb contemporary colour photography by Peter Guthrie assisted by Matthew Hyndman.

This book analyses not just Scarpa’s work as we find it today, and in great detail, but also introduces the reader to the complex history of the building as well as sequences of Scarpa’s own highly revealing drawings; witnesses to a brilliant curiosity and holistic approach to design where the art and architecture are completely complimentary.

Richard Murphy surveyed the whole building in 1986, and later interviewed many of Scarpa’s collaborators, including his craftsmen, and analysed all Scarpa’s drawings leading to three exhibitions and a book published in 1990. However, Carlo Scarpa and Castelvecchio Revisited is in many ways unrecognizable from its predecessor. It is neither a second edition nor is it a completely new analysis. It has started with the 1990 publication but the format is larger and 198 pages have grown to 384. Almost twice as many Scarpa drawings have been selected (some were unknown in 1990), and this time they are printed in colour with a reference system to guide the reader to details within them. Large sections of the accompanying text have been rewritten and expanded and there are two new chapters. Perhaps most importantly there are many more photographs, both of the building at various phases of its complex life but also superb contemporary colour photography by Peter Guthrie assisted by Matthew Hyndman.