"The existing building, of little value, is completely absorbed by the new construction. The elevation is drawn on two parallel planes: one, a load-bearing wall, has a doorway and carvings in the red stone of Verona; the other, recessed, is in glazed panels, revealing an impatience with conventional work, almost to the point of challenging functionality.However, the care taken with the decoration gives a dazzling gloss to this purposelessness, suggesting new reflecitons on the relationship between use and uselessness, between function and ornament."

—Maria Antonietta Crippa, Marina Loffi Randolin, ed. Carlo Scarpa: Theory Design Projects. p74.

The Creator's Words

"During Scarpa's five years of apprenticeship at the Academy, Venice enraptured him, brought to the surface a Byzantinism he already possessed, a taste for 'a relentless analysis of detail.' 'When I visited Florence for the first time I was immediately aware of the enormous architectural difference between the two cities. I can't deny that I'm impressed by Tuscan architecture, but such precision, such certainty are not part of my being. I am a true son of my region [Veneto] and have a strong feeling for my roots.' "

—Maria Antonietta Crippa, Marina Loffi Randolin, ed. Carlo Scarpa: Theory Design Projects. p14.