For the occasion of the Venice Biennale, it is time to look at the greatest Venetian architect since Andrea Palladio, the greatest Carlo Scarpa (1906-78). His body of work is so small that his name is barely known to the general public despite the fact that he can certainly considered one of the best talents in modern architecture. Influenced by Frank Lloyd Wright’s notion of organic architecture, Scarpa created sublime buildings that were closer to what Louis Kahn did. To him, just like to Kahn, history was not there to imitate or to revive, but rather to extract from its essence and a source for reinterpretation. His first project was the internal restructuring of the Gothic Ca’Foscari on the Grand Canal for the University of Venice, which he completed in 1937, but he has been mostly known for the work he did in Murano art glass between 1926 and 1948. In his hands, glass became monumental, abstract, and architectural. Among Scarpa’s most magical projects: the Venezuela-Pavilion in the Venice Biennale (1954–1956); Museo di Castelvecchio in Verona (1956–1964); and the Showroom of Olivetti in St. Mark's Square (1957–1958).