There are few havens that make you feel as good as Venice, when the train slows down and the lagoon comes into view and you start feeling the salty sea smell. That’s how it was for Anita. She used to leave the railway station, looking at the Scalzi bridge and feeling that she belonged to that place. She liked walking in Strada Nuova among a special blend of people that included a solid base of Venetians, because she always stopped in a place where she used to take the ferry boat at San Stae, still savouring anchovies and prosecco in her mouth. She tried to grab a seat in the stern, because she liked the intimacy offered by that semicircle, and her eyes took the same pace of the ferry, going back and forth from Rialto to Palazzo Grassi and San Zaccaria. She was expected in Campo Santa Maria Formosa. On the ground floor and in the garden designed by Carlo Scarpa – who knew well how to pull together materials and techniques, both old and new, in that hospitable and solemn scenery – contents and relationships were generated, and entertainment was combined to the transmission of knowledge: a moving celebration that built new geographies with a sense of belonging and a clear intention to have fun and feel good. And if she was hungry, she could always stop at the tavern Al Mascaron.
Chrome/white glass/Carrara marble, Persian grey marble/polished nickel/smoky grey glass, or Marron Emperador marble/polished brass/pale yellow glass.