From 1963 to 1974, Asolo hosted Carlo Scarpa, one of the greatest Venetian architects of the 20th century, in the studio house on Via Browning, located right above Tessoria Asolana.
In previous years, his work in the Asolo area had focused on the architectural works of the new wing of the Possagno Gypsotheca dedicated to Antonio Canova and the funeral complex of the Brion Tomb. Even though there is no trace of recognized architectural projects left in the city center, Scarpa had the opportunity to experiment with the design of furnishing accessories together with Tessoria Asolana, then directed by Caroli Piaser.
The collaboration was particularly fruitful, with the creation of curtains, ties and silk panels in unique colours, perhaps also thanks to the fact that Scarpa was able to relive some of his childhood memories of his mother’s tailoring workshop. These works are artisanal products in the etymological sense of the term, i.e. “artfully made”, as well as magnificent testimonies of Scarpa’s design method, in which the attention to detail, attention to proportion and color choices are evident.
In the realization of the architect’s ideas in Tessoria, the help of Caroli was fundamental, who managed to weave Scarpa’s aesthetic and creative thought into the wefts of the silks: the relationship between intellectual and craftsman, fundamental in artistic creation, constitutes one of the central themes in Scarpa’s thought.
The study in pacing the piece, the pause, the other piece that has a different structure and different dimension, as well as choices that drew on chromatic models ranging from the Renaissance to Rothko, are at the center of some of these designs.
Scarpa himself had panels made for himself covered in red silk, the color of which, in two slightly distinct shades, gives the composition a syncopated rhythm.
The drawings created by the architect for Tessoria Asolana are now held by Carla Tomasella, who took over the business in 2015, restarting a company capable of creating original collaborations and unique pieces thanks to a vocation of avant-garde craftsmanship.

“The proportion, the colour, the technique, the material… the entire Scarpa universe, so profound and complex, flutters lightly in a curtain moved by the spring wind.” Manlio Brusatin Architect student of Carlo Scarpa

3 August 2024

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