Due to the buildings complexity in form and materiality, it is considered the earliest forerunner of post-modern design, and also the inspiration behind the post-modernist Vanna Venturi House. 

The building name translates to 'The Sunflower' as the building frees itself from contextual restraints and the side profile fans out to maximize sun exposure (like a flower rotating to follow the sun).

Each placement of the different materials is according to complete randomness yet carefully planned to be provocative and aesthetically pleasing. 

Stone columns change in shapes and sizes to signal the differences in form. Paired sets of columns speak to a formal order that is different from an abstract or neutral column grid. 

Moretti uses marble, rock, glass, metal, ceramic, and wood. He uses these materials to serve as a notation, articulating difference in a manner reminiscent of Loos' turn-of-the-century Viennese interiors; not about the richness of the materials but the juxtaposition.

The Casa has "sunflower" openings to allow direct sunlight and air flow, as well as the frontal incision that lead to the central courtyard that gathers light into the circulation space.

Retail spaces up to the second floor, and third floor up is residential. Living units are scattered around the hollow core.

Moretti defined space as geometric abstraction which are difficult to analyze as a physical entity. The space are created as volumes. 

There are two different axes that disrupt an abstract 9 square grid and a plaid grid of servant and serves spaces.   

Modernist Intentions   See attached Carlo Scarpa “Familia” of architect’s tree and related images.   Amoia  

Detail – Context   At entry, the context of the water is clear as you enter on the “bridge” or floor. Venice, the floating city, is always present. The craftsman is always present. The architects thought of new and old, rich materials near everyday materials is always present.   Amoia  

Detail – Material   Materials are reused, new materials are placed near old elements. Rich and ordinary, polished and dull – textures and mixed to attract your senses to think of the context, the history, the craftsman.   Amoia  

Detail - Structure   Scarpa uses metal (brass, steel) to make space, trim, channel panels of stone, wood, cement for walls, floor, rails. He assembles these different materials in a way to show case the craftsman work.   Amoia  

Material   Scarpa had a box of various connectors and materials that he had made for several projects. He recalled the joinery of the old exterior window palazzo shutters, he recalled many old details like this, along with boat and gondola details and found use in the architecture he made.   Amoia  

System   The water is a cooling device. There is a cross ventilation and heating and cooling is camouflaged.   Amoia  

Program   Adapted reuse to Museum, public courtyard where hearing the water offers a tranquil space.   Amoia  

Spatial Order   Scarpa floats the floor at entry connected to bridge, then bridges you again to the main hall which connects to the floating steps from boat entry. The idea of the water is evident throughout the plan. Your floating like the city.  The water again guides you as it channels through the outdoor court where you enter a threshold to reenter or exit. The water is a threshold, the bridge is a threshold, the materials offer a threshold into understanding combination of fine and mundane materials that when combined tell a story of craft, history, life of assembling beauty in details.   Amoia  

Structure - typical Venetia palazzo (stone bearing walls and wood timber floor structure) Plan description: an “L” shape service area with communication stair and entry from water. The main hall has axis to the main outdoor court and centered on boat entry. Amoia

Scarpa Zumthor Kahn Moneo Le Corbusier Koolhaas Sterling Holl Smithson Eisenman Utzon Murcutt Mies Chiperfield Aalto Gehry Fuller Piano Wright Ando      

CIAM, or International Congresses for Modern Architecture 1928 "architecture as a social art"   Picture of the CIAM group. Circa 1928   https://en.wikipedia.org/wiki/Congr%C3%A8s_Internationaux_d'Architecture_Moderne