"In Venice, Scarpa feels above all the chromatic vibrations, the transparency and mobility of water and light, the intricacy of ornament and inlay-work; but on the other hand he knows he must speak with his own voice.  That is, he knows that the new theme he is to create will end up as a reconizable and catalyzing addition to the enviroment it is born in"
 
 

"The entrance shows how Scarpa has had to take into account some objective conditions, and how he has been able to use hisd clients' directions to help in defining the new appearance of the interior.  Above all, it was necessary to protect it from the flooding of the high winter tides, eliminating as much as possible of the damp so that it could be lived in.  This has been achieved with the construction of a perimetral barrier which runs along the walls; the water gets in, but remains trapped in the space between the walls and the barrier.  Light brick panels have been fixed on the walls and ceilings with the aid of brackets, so as to permit constant airing: these are not attacked or corroded by the damp.  It is interesting to note how these solutions, together with others, such as for example, the sheathing of the radiator elements, enable Scarpa to reach teh extreme limits of refinement, outlining cornices, profiles, divisions; composing the abstracty play of surfaces through the assembly of divers elements; drawing luminous parastas, grids, stone slabs and symbols; and laying down in the entrance hall, the marble "carpet" of polychrome blocks.

He here appears yet more sensitive to the climate and colour of Venice than in the Olivetti shop.  Mazzariol has written that in this work, he 'has included all the elements, both essential and marginal, of his interpretative and poetical feelings above Venice: the water and the light, the bright, unexpected colours, - the song of gold in the shadows -, but also the subdued hues, the unmotivated slackening of initial tension with no precise end in view."