Objective There are different approaches to the criticism of landscape design. This research takes Tomba Brion designed by Italian architect Carlo Scarpa as an example to discuss one of the approaches that take “meaning” as its central clue.
Methods Scarpa’s design is extremely unique, and it has always been difficult to comprehend and evaluate such a design. By analyzing Scarpa’s past works, speeches and dialogues, the meanings of a number of landscape design elements in Tomba Brion can be uncovered to some extent. Through these elements, Scarpa succeeds in leading people into contemplation of the meaning of death. Rather than a nihilistic end to life, death is actually a constituent of life. It sets the limit for life and, in this way, gives life its urgency, intensity and coherence. Death turns life into unity, to which the question of life value and life goal is paramount. By indicating this understanding of death, Scarpa endows the entire project of Tomba Brion with an extraordinary depth ofmeaning. It is also possible to argue that all the landscape elements involved in Tomba Brion contribute to the specific interpretation of the meaning of death, which well reflects the coherence of Scarpa’s unusual designs.
Results This meaning-centered approach to landscape criticism is actually comparable to the iconological research method advocated by German art historian Erwin Panofsky, both of which emphasize the analysis of the meaning of artistic works. These meanings refer not only to symbolic references but also to the underlying philosophical basis of the artistic phenomenon.
Conclusion The discussion above demonstrates that the iconological model of analysis can be applied to the criticism of landscape design. The meaning-centered approach based on the aforesaid model is critical for revealing the in-depth value of a landscape design.
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