Carlo Scarpa (1906-1978) was one of the most influential architects and designers of the 20th century in Europe. He is a pioneer in the collaboration between natural and artificial materials and elements, resulting in the realisation of original forms, spaces, and buildings.

Scarpa was known for his ability to merge both past and modern designs, often working on pre-existing buildings, bringing a fresh perspective to architecture.

His influence can still be felt today, as his works continue to emit a modernist approach and feel at ease within contemporary society and style.

TIMELINE OF CARLO SCARPA

Scarpa was born in Venice on June 2, 1906. The Scarpa family relocated from Venice to Vicenza when Carlo was two years old, where they remained until the death of his mother at the age of 13.

Scarpa moved back to Venice, where he later attended the city’s Academy of Fine Arts, focusing on architectural studies, afterwards earning the title of Professor of Architecture. 

After graduating in 1926, he started working at the Venetian studio of architect, Guido Cirilli, and apprenticed with the architect Francesco Rinaldo.

Even though having completed his apprenticeship under the guidance of Rinaldo, Scarpa never took, and therefore never passed, the professional exam to qualify as an independent architect.

Therefore, Scarpa was obliged to always work with a licensed architect.

In 1932, he started collaborating with Venini, an Italian glass-making company based on the island of Murano. This role then evolved into Scarpa becoming the artistic director of Venini until 1947.

During that time, Scarpa was exposed to the traditional practice of the artisanal craft of glass-blowing and was able to introduce a contemporary aspect to the glassworks. 

From his late 20s up until the time of his death, Scarpa taught at IUAV, Istituto Universitario di Architettura di Venezia; firstly as a teaching assistant, followed by the role of tenured Pprofessor, and finally in 1972, Scarpa became the school director. 

Scarpa died in 1978, following an accident, at the age of 71, whilst visiting Sendai in Japan.

WHAT DEFINES A SCARPA DESIGN? 

Scarpa’s designs have specific characteristics that make them stand out, marking them as unmistakable works.

In Venice, where he later returned to study and carve out his career, several of Scarpa’s most impressive architectural pieces can be found in the lagoon city and the region of Veneto, as well as in other Italian and European cities. 

Tied to a city built on water, whose relationship with the tides is ever-changing yet accepting even if at times the water itself can cause damage and inconvenience, Scarpa often includes an element of water, such as an indoor fountain, a stream that borders the garden, or a pond that reflects its surrounding.

Scarpa also found inspiration in Japanese architecture, its minimalist style and use of materials, developing into a unique combination of both worlds. 

When Scarpa worked on new architectural builds, he preferred to rework existing spaces in need of attention.

CARLO SCARPA’S NOTEWORTHY PROJECTS

Scarpa’s works are indeed difficult to forget. Not afraid to take up challenges, he has worked on some of the most unassuming buildings – turning them into architectural marvels.

THE OLIVETTI SHOWROOM, VENICE

In 1958, Scarpa was commissioned with the realisation of the new Olivetti showroom in St Mark’s Square in Venice.

Olivetti, which is still operating today, was founded in 1906 and manufactured typewriters. The company decided that they were in need of an attractive space as a showroom to welcome potential customers and business partners.

A complex space to work with originally due to its narrow corridors and lack of natural light, Scarpa defied these challenges and presented one of his most notable projects.

Particular features include the central staircase, which seems to float from step to step, and the high quality of materials, such as Aurisina marble, rosewood, and African teak, alongside Venetian stucco and mosaic.

Today, the Olivetti showroom is cared for by FAI, the Italian National Trust, which regards the site as an example of cultural heritage and organises guided tours throughout the week.

GIARDINO DELLE SCULTURE, LA BIENNALE DI VENEZIA, VENICE

Scarpa completed several architectural projects in the Gardens of the Venice Biennale, including the ticket office (no longer in use) and the Venezuelan Pavilion. 

In addition, he introduced the mezzanine floor in the large room of the main exhibition, doubling the surface area.

One of Scarpa’s most notable works for the Biennale is the Sculpture Garden, located between the main exhibition pavilion and the ASAC library. The original design was made by Duilio Torres in 1932, and as it fit Scarpa’s style, he reworked the pre-existing space to complete his own version in 1952.

The garden plays with light, shadow and water; moving weight in an abstract manner, three large columns hold a canopied roof, where circles have been cut out.

FONDAZIONE QUERINI STAMPALIA, VENICE

Scarpa was asked to intervene on the Querini Stampalia Foundation’s ground floor and garden. This is a unique space that was considered inadequate for exhibitions or any other use due to its susceptibility to high tide, where the water levels rise and enter via the canal.

Between 1961 and 1963, Scarpa focused on rendering a relationship between the building and the water, which becomes the focal feature of the garden.

In a maze-like form, the water travels along the edge of the garden to create a border, forming a final sculpture. In addition, one can find a mosaic created in Murano glass designed by Mario De Luigi.

The private foundation is home to a library, a museum, and temporary exhibitions.

THE BRION TOMB, SAN VITO D’ALTIVOLE, TREVISO

Between 1968 and 1978, Carlo Scarpa designed the Brion family tomb in San Vito D’Altivole, built in the vicinity of Treviso, and is considered a masterpiece in modernist architecture.

It was commissioned by Onorina Tomasi Brion, the widow of the founder of the Brionvega company, which specialised in the manufacturing of televisions and electronics during the 1960s.

The monument evolved into an L-shaped form to include a garden, a church, and finally the family tombs.

The church, which is almost submerged in water, is linked to the meditation pavilion and also the water pavilion, each space carefully designed with attention to the smallest details.

With two entrances and two walkways, Scarpa brings together the symbolism of meetings and pathways, giving the visitor space and time to reflect on life and death within the minimal, yet unique space.

Scarpa was buried in an adjacent section of the Brion tomb.

Cover: Olivetti Showroom, Venice 2022. Credit: Rui Alves/Unsplash

Writer | Glesni Trefor Williams

Glesni Trefor Williams is a Bologna-based art journalist/translator from North Wales, who focuses her writing on contemporary art and interlinked exhibition spaces. She has written for Lampoon, Spinosa Magazine, and is an arts contributor on BBC Wales radio. @glesniw

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