Views of Venice. Commentary talks about Carlo Scarpa’s remodelling of some Venetian buildings, and how he never went for fake "old" features. Views of Byzantine mosaics, St Mark’s, etc., most of which would have been destroyed if John Ruskin and William Morris had not petitioned the Italian government of the day.
Richard Murphy, architect & writer, talking about features replaced with modern ones but in styles in keeping with the originals. Bridge outside the "Querini Stampalia Palace, Remodelled by Scarpa, 1961-63", taking imagery not just from traditional Venetian bridges, but from Japanese design, from boats, etc. Inside the Querini Stampalia: a new flood-protection feature and an exhibition gallery made from a former storeroom. Features include etched glass lights and brass strips in dressed traventine marble. A hidden door (which Murphy says are reminiscent of the stone shutters of Torcello Cathedral) leads through to another exhibition room. Film of "Carlo Scarpa, Torcello Cathedral, 1970s", with Scarpa pointing out the stone shutters. Features in the garden of the Querini Stampalia which commentary says comes from a deep understanding of Japanese design. Egle Trincanato, President, Querini Stampalia, talking about Scarpa’s passion for materials and for juxtaposing different ones; VO details of the garden, particularly the water features. On the Canareggio. Angelo and Saverio Anfodillo, cabinet-makers, talking about working for Scarpa, and about how the workmen felt about him. The Anfodillos’ workshop in the Fondamenta della Sensa. Luciano Zennaro, marble-cutter. Commentary talks about Scarpa taking inspiration for a marble floor from an abstract painting (in this case by Mark Rothko), designing this in marble, and using matching colours in the ceiling of the room.