The iron and bronze water gates at the Fondazione Querini Stampalia are an important element in the intervention on the historic palazzo by Carlo Scarpa (1906-78), who is recognised as Italy’s predominant architect of the twentieth century. They are viewed as an emblematic example of the great architect’s way of working – innovative use of materials, attention to detail, ability to create sensitive dialogue between the historic and modern, and an understanding of place, masterfully displayed by his treatment of those inherently Venetian elements, water and light.

As part of his total renovation completed over the course of 1959-63, Scarpa removed the two heavy wooden doors protecting the palazzo’s principal openings. Into the empty arched frames of Istrian stone, he instead inserted a geometric weave of brass and iron; interlaced right-angle shapes supported by vertical rods, each portal containing three opening grilles the central of which is distinctively taller and narrower. 

The consequent introduction of water and light into the interior through this latticed design, serves to transform the space and light. It enhances the unique sensory experience of the Venetian natural elements – complex luminous patterns shimmering, reflecting and refracting across the water surface, walls and ceiling, colour and shadow that evolve and dematerialise contours and a gentle audible lapping with each ebb and flow.  Added to this, the Gates permit intriguing glimpses of Campo Santa Maria Formosa beyond.

Scarpa’s reimagining of the Querini resonates with Italy’s broader post-war museum reforms which sought to invest in museums as tools for cultural, democratic and social growth by their architectural transformation into open, bright spaces that welcomed all visitors. Characteristic of his focus on sense of place, Scarpa’s perceptive liberation the canal water not only brings the Querini to life with an intervention that is uniquely Venetian, but one in which his water gates are the protagonist.

Almost 70 years later, the Gates are now in a poor state of conservation. Where continuously submerged, the metal work is covered with mussels and natural encrustations, while those sections which succumb to temporary submersion during high tides, have suffered heavily from oxidation, in some places the rust corrosion so severe as to have caused breakages and detachments. Additionally, an overall surface oxidisation has also rendered the iron and brass indistinguishable.  The structures retain their original hinges (still just operational), and remain firmly attached to the Istrian stone of the portal jambs.

Conservation will address these areas; surface rust will be cleaned by abrasive brushing to retore original appearance, while particularly corroded elements will be reconstructed or replaced.

Venice in Peril Fund is delighted that the conservation is to be carried out by the Zanon workshop, which collaborated with Scarpa on numerous projects, including these very gates. Founded nearly 80 years ago by Gino, the family business was taken over by his sons Paolo and Francesco in the 1980s; the Zanon are renowned for their specialisation in iron and metal work and have produced many works across Venice and the world, as creative craftsmen, restorers of metalwork in historic monuments and in collaboration with sculptors, artists and architects. The Water Gates will travel to their workshop for conservation.

The cost of the project will be €30,800.