{"id":3119,"date":"2026-07-08T11:00:00","date_gmt":"2026-07-08T09:00:00","guid":{"rendered":"https:\/\/www.unlockvenice.com\/?p=3119"},"modified":"2026-09-02T16:24:08","modified_gmt":"2026-09-02T14:24:08","slug":"querini-stampalia-carlo-scarpa-acqua-alta-venise","status":"publish","type":"post","link":"https:\/\/www.unlockvenice.com\/fr\/querini-stampalia-carlo-scarpa-acqua-alta-venise\/","title":{"rendered":"Querini Stampalia : Carlo Scarpa, acqua alta et architecture moderne dans un palais v\u00e9nitien"},"content":{"rendered":"

La Querini Stampalia est l\u2019un de ces lieux v\u00e9nitiens o\u00f9 la ville ne reste pas devant la porte. Dans le palais donnant sur Santa Maria Formosa cohabitent une maison-mus\u00e9e, une biblioth\u00e8que ouverte jusque tard, une fondation culturelle et l\u2019une des interventions les plus intelligentes de Carlo Scarpa. Ici, l\u2019acqua alta n\u2019est pas seulement un probl\u00e8me \u00e0 contenir : elle devient mesure, seuil, mat\u00e9riau du projet. Visiter la Querini signifie lire Venise \u00e0 travers des pi\u00e8ces, des passages, de la pierre d\u2019Istrie, une lumi\u00e8re r\u00e9fl\u00e9chie et de petits d\u00e9nivel\u00e9s, sans s\u00e9parer l\u2019histoire du palais de la vie quotidienne de la ville.<\/p>\n

Un palais v\u00e9nitien entre mus\u00e9e, biblioth\u00e8que et fondation<\/h2>\n

La Fondation Querini Stampalia occupe un palais donnant sur Santa Maria Formosa, dans le sestiere de Castello, dans une zone de Venise o\u00f9 le tissu urbain reste fait de campi, de ruelles \u00e9troites, de ponts et d\u2019accostages sur l\u2019eau. Son identit\u00e9 na\u00eet de l\u2019entrelacement entre demeure patricienne, collection d\u2019art, biblioth\u00e8que et institution culturelle : ce n\u2019est pas seulement un mus\u00e9e, mais un \u00e9difice historique qui continue d\u2019\u00eatre travers\u00e9 par diff\u00e9rentes fonctions.<\/p>\n

Le noyau familial est celui des Querini Stampalia, branche de l\u2019aristocratie v\u00e9nitienne li\u00e9e \u00e0 l\u2019histoire de la S\u00e9r\u00e9nissime. Au XIXe si\u00e8cle, le comte Giovanni Querini laissa le palais et les collections \u00e0 la ville, donnant naissance \u00e0 la fondation. Ce passage est d\u00e9cisif pour comprendre le lieu : les espaces nobles conservent peintures, mobilier et souvenirs domestiques, tandis que la biblioth\u00e8que et les espaces d\u2019exposition ont transform\u00e9 la maison en un organisme public.<\/p>\n

Dans cette stratification s\u2019ins\u00e8re l\u2019intervention de Carlo Scarpa, appel\u00e9 au XXe si\u00e8cle \u00e0 repenser l\u2019acc\u00e8s, le rez-de-chauss\u00e9e et le rapport avec l\u2019acqua alta sans effacer la nature v\u00e9nitienne du palais.<\/p>\n

Carlo Scarpa : entr\u00e9e, pont et jardin<\/h2>\n

L\u2019intervention de Carlo Scarpa, r\u00e9alis\u00e9e entre 1961 et 1963 sous l\u2019impulsion de Giuseppe Mazzariol, ne tente pas d\u2019isoler l\u2019\u00e9difice de l\u2019eau : elle la transforme en partie du parcours. Le nouvel acc\u00e8s sur le rio est d\u00e9j\u00e0 une d\u00e9claration de m\u00e9thode. Le pont, fin et asym\u00e9trique, combine pierre d\u2019Istrie, m\u00e9tal et b\u00e9ton ; il n\u2019imite pas les passages historiques v\u00e9nitiens, mais en reprend la fonction avec un langage moderne, fait de coupes nettes, de joints visibles et de d\u00e9tails mesur\u00e9s.<\/p>\n

Au rez-de-chauss\u00e9e, Scarpa accepte l\u2019acqua alta comme une pr\u00e9sence p\u00e9riodique. Les niveaux, les marches et les bassins guident le mouvement de l\u2019eau au lieu de le nier. Le visiteur lit ainsi une s\u00e9quence de seuils : du campo au pont, de l\u2019entr\u00e9e \u00e0 l\u2019androne, jusqu\u2019aux espaces d\u2019exposition. Sols en marbre et en mosa\u00efque, profils m\u00e9talliques, caniveaux et surfaces polies construisent une sorte de carte physique de la lagune \u00e0 l\u2019int\u00e9rieur de l\u2019architecture.<\/p>\n

Le jardin conclut le parcours avec la m\u00eame pr\u00e9cision. Ce n\u2019est pas une simple cour d\u00e9corative : c\u2019est une composition de murs, d\u2019eau, de verdure et de fragments de pierre. Le bassin lin\u00e9aire, les d\u00e9nivel\u00e9s minimes et les insertions g\u00e9om\u00e9triques montrent le trait typique de Scarpa : faire coexister m\u00e9moire v\u00e9nitienne, artisanat et projet contemporain sans effacer les traces pr\u00e9existantes.<\/p>\n

<\/p>\n

\"Illustration<\/figure>\n

Acqua alta : non pas obstacle, mais mati\u00e8re du projet<\/h2>\n

Au rez-de-chauss\u00e9e de la Fondation, la mar\u00e9e n\u2019est pas trait\u00e9e comme un incident \u00e0 cacher. Le projet pr\u00e9voit que l\u2019acqua alta puisse entrer dans certaines zones contr\u00f4l\u00e9es, surtout pr\u00e8s de l\u2019acc\u00e8s depuis le rio, o\u00f9 seuils, marches et surfaces en pierre d\u00e9finissent un parcours lisible m\u00eame lorsque le niveau monte.<\/p>\n

Le choix est radical parce qu\u2019il renverse l\u2019id\u00e9e moderne d\u2019\u00e9difice \u201cimperm\u00e9able\u201d. Ici, l\u2019environnement lagunaire devient partie de l\u2019exp\u00e9rience architecturale : la lame liquide refl\u00e8te plafonds, parois et d\u00e9tails m\u00e9talliques ; le sol, l\u00e9g\u00e8rement articul\u00e9, distingue les zones de passage et les points d\u2019arr\u00eat ; les niveaux ne sont pas fortuits, mais mesur\u00e9s pour rendre visible le rapport entre construction et mar\u00e9e.<\/p>\n

Cela ne signifie pas abandonner l\u2019ouvrage \u00e0 l\u2019humidit\u00e9. Au contraire, le contr\u00f4le na\u00eet de mat\u00e9riaux r\u00e9sistants, de joints pr\u00e9cis et de canaux d\u2019\u00e9coulement int\u00e9gr\u00e9s au dessin. Venise n\u2019est pas corrig\u00e9e : elle est \u00e9cout\u00e9e. C\u2019est pourquoi l\u2019intervention reste un exemple rare d\u2019architecture moderne capable de transformer une limite physique en langage spatial.<\/p>\n

Comment lire la visite sans la r\u00e9duire \u00e0 une \u00e9tape<\/h2>\n

Pour comprendre l\u2019intervention de Scarpa, il convient de ralentir avant m\u00eame d\u2019arriver aux salles mus\u00e9ales. Ne pas observer seulement \u201cce que\u201d l\u2019on visite, mais \u201ccomment\u201d on passe d\u2019un espace \u00e0 l\u2019autre : seuils, coupes dans le sol, changements de niveau et parapets bas font partie du r\u00e9cit.<\/p>\n

    \n
  • Regarde en bas :<\/strong> pierre d\u2019Istrie, ciment, m\u00e9tal et mosa\u00efque indiquent des parcours, des pauses et des points o\u00f9 la mar\u00e9e peut \u00eatre accueillie sans devenir d\u00e9sordre.<\/li>\n
  • Observe les jonctions :<\/strong> ar\u00eates, cadres et d\u00e9tails en laiton ne sont pas des d\u00e9corations ajout\u00e9es, mais des instruments pour mesurer lumi\u00e8re, mati\u00e8re et mouvement.<\/li>\n
  • Arr\u00eate-toi vers le jardin :<\/strong> le passage de l\u2019int\u00e9rieur au vert montre la m\u00eame logique que le rez-de-chauss\u00e9e : contr\u00f4le g\u00e9om\u00e9trique et sensibilit\u00e9 v\u00e9nitienne cohabitent.<\/li>\n<\/ul>\n

    Ceux qui souhaitent approfondir devraient v\u00e9rifier \u00e0 l\u2019avance les \u00e9ventuelles modalit\u00e9s de visite mises \u00e0 jour, sans toutefois transformer ce lieu en une simple case \u00e0 cocher.<\/p>\n

    La Querini Stampalia ne se r\u00e9sume ni \u00e0 une visite rapide ni \u00e0 un seul d\u00e9tail photographiable. Sa valeur r\u00e9side dans le rapport entre ancien et moderne, entre fonction publique et m\u00e9moire priv\u00e9e, entre architecture et eau. Entrer, traverser le pont de Scarpa, observer le jardin et s\u2019arr\u00eater dans les salles permet de comprendre une Venise moins sc\u00e9nographique et plus concr\u00e8te, faite d\u2019adaptations pr\u00e9cises et de continuit\u00e9s intelligentes. Pour cela, la Querini est une \u00e9tape \u00e0 lire avec calme : non comme une d\u00e9viation savante, mais comme une cl\u00e9 pour mieux regarder toute la ville.<\/p>\n","protected":false},"excerpt":{"rendered":"

    Guide \u00e9ditorial de la Querini Stampalia : le palais, l\u2019intervention de Carlo Scarpa, l\u2019acqua alta et le dialogue entre la Venise historique et l\u2019architecture moderne.<\/p>\n","protected":false},"author":1,"featured_media":496,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[74],"tags":[1960,1961,1962,64,1963,10],"class_list":["post-3119","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte-e-cultura","tag-acqua-alta-fr","tag-architettura-moderna-fr","tag-carlo-scarpa-fr","tag-castello","tag-querini-stampalia-fr","tag-venezia"],"yoast_head":"\nQuerini Stampalia : Carlo Scarpa, acqua alta et architecture moderne dans un palais v\u00e9nitien — Unlock Venice<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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