Tomba Brion, located in San Vito d'Altivole near Treviso, Italy, is the serene resting place of the Brion family. This architectural masterpiece was designed by Carlo Scarpa, a friend of the Brion family. When commissioned for the project, Scarpa asked, "Where do you want to be buried?" Here is the poetic convergence of life, death, and nature.
Our guide for this journey was Guido Pietropoli, a distinguished architect who graduated from the IUAV in Venice in 1970 under the supervision of Carlo Scarpa. Pietropoli's career is a testament to his dedication to architecture, having worked in Le Corbusier's atelier in Venice and collaborated closely with Scarpa until his death in 1978. His insights enriched our understanding of Scarpa's vision. We were also accompanied by Alba Di Lieto and Paolo Belloni. Thanks for their explanation of this masterpiece.
- Words: Fynn
- Photos: Federico Covre
The approach to the Brion tomb offers two entrances: the old street and the new street. The old street is oriented to the east, symbolically guiding visitors from sunset to sunrise, a journey that echoes religious themes of moving towards enlightenment. As we walked, birds chirped around us, adding a serene soundtrack to our steps. The ground of the tomb is elevated, forming a tumulus, a swelling that rises naturally from the earth. At the entrance, the distant ringing of a bell could be heard. Scarpa, with his keen sense for meaningful details, designed the wall at a precise angle of 60°. One of the first striking features we encountered was a familiar symbol: the Chinese character for double happiness.
Passing through the Propylaea, a gateway that made us feel distinctly removed from the public cemetery, we entered a sacred space. The two circles of the gateway felt like eyes drawing us into the heart of the tomb. Beneath a raw concrete bridge lay the coffins of Mr. and Mrs. Brion, the warm wood of their coverings contrasting with the cold concrete. Positioned strategically to embrace the sunniest locale, the tomb transcends its physical form to become a poetic gesture. Its vaulted ceiling not only offers protection from the elements but also serves as a symbolic canopy under which two souls, bound by love in life, continue their eternal journey together.
With our heads bowed, we slowly entered the family chapel. Inside, we noticed a missing part in the ceiling. This was designed to catch raindrops, creating a rhythmic, contemplative atmosphere. This opening, in line with tradition, was also a symbolic passage for the soul to escape and reach the heavens. Architecturally, it acted like a sundial, allowing sunlight and shadows to move across the space as time passed. Through the church's windows, we glimpsed the water and flowers outside, an invitation to the garden. The cypresses planted here evoked the Tuscan landscape, their flame-like appearance symbolizing transcendence, as if the flames were carrying the spirit upwards, closer to the divine.
Unfortunately, the entrance door was now blocked, much to Guido's dismay. Originally, one had to push the glass door down with some effort, bending as they entered, embodying the transition from the public to personal introspection. Scarpa’s design encouraged visitors to sit, look outside, and feel connected to both the sky and the ground. The water beneath the pavilion seemed mysterious, with a dark, enigmatic bed.
As we prepared to leave, we finally observed Scarpa’s resting place, secluded and fittingly modest. Scarpa once said he was inspired by the French poet Paul Verlaine, whose words "la vie passe en fleurs" encapsulates the ethos of the Brion Tomb. Life, in its fleeting beauty, passes like flowers, and death, far from being feared, becomes a natural and serene transition.
