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Ken Okiishi

Carlo Scarpa, restoration of Museo di Castelvecchio, 1958–75, Verona, Italy. Photo: Farrell Nilton/Flickr.

A STRANGE TECHNOLOGICAL RUPTURE occurs as one proceeds through the Museo di Castelvecchio in Verona, Italy. In line with contemporary educational efforts, the museum has installed a computer screen that, prompted by an awkward touchscreen mounted below it, displays images of Carlo Scarpa’s ravishing, intensely overlaid drawings of the design for the building compound’s 1958–75 renovation and newly conceived and realized exhibition display. This, in itself, wouldn’t be particularly jarring, but the ad hoc placement of a surveillance monitor next to the first screen, showing deliriously oversaturated live feeds from throughout the museum, provokes a sudden sense of confusion as to why this ghastly thing has happened so visibly in one of the world’s most thoughtfully executed museum architectures, interrupting the invigoratingly complex flows through these buildings. A completely

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