Among the impressive collection of national pavilions scattered throughout the Giardini della Biennale in Venice, Italy, stands one particularly significant structure designed by the city's most celebrated modern architect. Positioned between the Russian and Swiss pavilions, the Venezuela Pavilion represents the architectural vision of Carlo Scarpa, embodying both his distinctive design philosophy and some unique characteristics that set it apart from his other works.
The Venice Biennale, established in 1895, stands as one of the world's most prestigious international art exhibitions, celebrating its 130th anniversary. Originally housed in a single exhibition venue built in the Giardini di Castello (now simply known as the Giardini), the event has evolved significantly over the decades. The tradition of individual countries constructing their own national pavilions began with Belgium in 1907, followed by Great Britain in 1909, France in 1912, and Russia in 1914, eventually growing to the 28 pavilions that exist today. The Biennale has maintained its biennial schedule throughout most of its history, with interruptions only during wartime and the COVID-19 pandemic. Since 1980, an Architecture Biennale has alternated with the Art Biennale in off years.
The history of the Venice Biennale serves as a fascinating chronicle of Western art's evolution. In its early years, the exhibition reflected conservative tastes – reportedly, a Picasso painting was removed from the 1910 exhibition for fear it might shock visitors, demonstrating how modern art had not yet gained acceptance among the organizers. The early pavilions reflected the architectural styles of their era, following classical and historicist traditions. The first modernist building was Austria's pavilion, constructed in 1934 and designed by Josef Hoffmann, which established a precedent for future modernist structures including Bruno Giacometti's Swiss pavilion (1952) and Sverre Fehn's Nordic pavilion (1962).
In 1951, the Biennale expanded its footprint within the Giardini to accommodate additional national pavilions, including Venezuela's contribution. The commissioning of the Venezuela Pavilion was largely due to the efforts of Graziano Gazparini, an Italian architect, artist, and historian who had relocated to Venezuela, where he practiced, taught, and eventually became a citizen. Having studied under Scarpa before emigrating, Gazparini advocated for his former mentor to receive the design commission. This connection is particularly meaningful given the historical link between the two locations: Venezuela, meaning 'Little Venice,' received its name from early European explorers who saw similarities between its coastline and the Italian city of Venice. A vacant plot between the Russian and Swiss pavilions was secured for the new construction.
The design and construction process spanned from 1953 to 1956. Scarpa's initial conceptual sketches revealed an approach influenced by Frank Lloyd Wright, whose work he greatly admired. However, the final design evolved to better integrate with the existing context of the Giardini, creating harmony with the previously constructed pavilions. The rectangular form drew comparisons to both Gerrit Rietveld's Dutch pavilion and the Austrian pavilion. The symmetrical facade with its regular window rhythm also established a connection with the older classical pavilions, demonstrating Scarpa's sensitivity to the site's architectural heritage.
The built structure presents an elegant simplicity. The main component consists of a larger rectangular volume featuring the primary facade, connected to a smaller volume behind it, creating the impression of a unified large space. Adjacent to these structures is an open courtyard topped with a canopy, originally equipped with movable partitions that could enclose the space but have since been removed. The entrance sequence leads visitors through this courtyard, with the actual entry point positioned at the junction between the two building volumes. Both volumes feature vertically oriented windows placed at high level, meeting the ceiling corner and continuing horizontally along the roof plane. This design strategy brings in natural light and provides views of the sky and tree canopy while preserving wall space below for exhibitions.
The Venezuela Pavilion exemplifies many characteristics typical of Carlo Scarpa's architectural approach. Most notable is the exceptional craftsmanship and meticulous attention to detail, evident in the rich variety of materials and surface treatments. The main facades feature rough concrete with exposed aggregate, contrasting with the smoother concrete surfaces of the courtyard walls and the refined stonework of the interior spaces. Metalwork appears throughout the design in the form of elegant, slender double columns that support the canopy. The windows that extend to the roof and turn at corners represent a signature Scarpa detail, visible in works as early as his Ca' Foscari University restoration in Venice (1937) and later in the Canova plaster cast gallery in Treviso (1957).
The landscape integration forms an essential component of the pavilion design, most clearly demonstrated through the inclusion of the courtyard. Unlike the classically designed pavilions, the Venezuela Pavilion's formal, symmetrical facade does not contain the main entrance – instead presenting only a blank concrete wall at ground level. Visitors are guided through a carefully orchestrated journey through the building's various elements, beginning with steps leading into the courtyard. This sequential movement through space represents a fundamental tool in Scarpa's architectural vocabulary, evident in projects such as the Fondazione Querini Stampalia in Venice (1963) and most prominently in the Tomba Brion monumental complex in Treviso (1978), where a series of routes, buildings, and landscape elements create the cemetery experience.
Despite these characteristic Scarpa elements, the Venezuela Pavilion displays an unusual geometrical simplicity when compared to his other work. His few other freestanding buildings, primarily houses and churches, feature much more complex floor plans. Additionally, the detailing throughout the pavilion shows restraint, with large expanses of uninterrupted concrete surfaces. For an architect who began his career focusing on galleries and museums, an exhibition pavilion represented a natural progression. Known for his deep appreciation of art, Scarpa typically designed spaces carefully tailored to their specific exhibitions, as demonstrated in the Canova plaster cast gallery. However, a pavilion designed to accommodate biennially changing exhibitions required a different approach, explaining the structure's relative simplicity and flexibility.
The Venezuela Pavilion holds the distinction of being the first South American country pavilion constructed within the Giardini, commissioned as a result of the productive personal relationship between Gazparini and Scarpa. The structure successfully exemplifies Scarpa's architectural principles through its spatial narrative and material usage, while maintaining its own distinctive characteristics. The 1950s and early 1960s marked the final period of significant national pavilion construction, with only a handful of new pavilions added since then. The year 2025 brought the announcement of the latest permanent pavilion to be planned – Qatar's pavilion, designed by Lina Ghotmeh.
The Venezuela Pavilion stands as a testament to the power of personal relationships in architecture and the way historical connections can influence contemporary design. From 'Little Venice' to Venice, Scarpa's creation represents not just a building but a bridge between cultures, architectural traditions, and artistic expressions. Through its thoughtful integration of modernist principles with contextual sensitivity, the pavilion continues to serve as an exemplary model of how contemporary architecture can respectfully engage with historical settings while maintaining its own distinct identity and purpose.
