The detail and the surface

Carlo Scarpa is recognized in the late twentieth century for his profile as an experimenter, which leads him to distance himself from most of his contemporaries, with the refusal of certifications, rules, the return to an “order”, or a “style.”

Interpreting in an original way his cultural reference, ranging from Palladio to Frank Lloyd Wright, Scarpa proposes a new compositional logic for architecture. He treats the volumes by mounting them and juxtaposing them, articulating structures, functions, and details always around a core, physical or conceptual, of great strength.

Scarpa applies his “transgressive vocation” to a design activity that ranges from design to museum installations and interior architecture, from restoration work to new construction projects. But it is precisely the installations, the intervention on historical architecture and the design of the furnishings that characterize his work.

The careful study of the construction materials, the training at the Venice Academy that led him great attention to detail, are part of a research on the theme of the fragment that combines refinement and quality, even in the composition of the architectural space.

  1. Arrangement of Palazzo Abatellis at the National Gallery of Sicily, Palermo, Carlo Scarpa, 1953-54
  2. Expansion of the Gipsoteca Canoviana, Possagno (TV), Carlo Scarpa, 1955-57
  3. Restoration and preparation of the Castelvecchio Museum, Verona, Carlo Scarpa,  1956 and later
  4. Church of the ENI village of Corte di Cadore (BL), Edoardo Gellner,  Carlo Scarpa, 1959
  5. Arrangement of the ground floor and courtyard of the Querini Stampalia Foundation, Venice,  Carlo Scarpa, 1961-63
  6. Gavina shop, via Altabella, Bologna, Carlo Scarpa, 1961-63
  7. Monumental tomb Brion, San Vito d’Altivole (TV), Carlo Scarpa; Carlo Maschietto, Guido Pietropoli (collaborators), 1969 and later
  8. Casa Ottolenghi, Bardolino (VR), Carlo Scarpa; Giuseppe Tommasi, Carlo Maschietto, Guido Pietropoli (collaborators), 1974 and later