{"id":28163,"date":"2026-09-27T09:00:00","date_gmt":"2026-09-27T07:00:00","guid":{"rendered":"https:\/\/www.archieinteriors.com\/?p=28163"},"modified":"2026-09-26T18:14:13","modified_gmt":"2026-09-26T16:14:13","slug":"brion-tomb-carlo-scarpa","status":"publish","type":"post","link":"https:\/\/www.archieinteriors.com\/en\/brion-tomb-carlo-scarpa\/","title":{"rendered":"Brion Tomb: Carlo Scarpa’s Memorial in San Vito di Altivole"},"content":{"rendered":"

In the Treviso countryside, beside a small village cemetery, Carlo Scarpa spent almost ten years creating a garden for the dead and the living. The Brion Memorial is his final work, the place where he is buried and, since 2022, a FAI property.<\/em><\/p>\n

San Vito is a hamlet of Altivole, in the province of Treviso, between Asolo and Castelfranco Veneto. The municipal cemetery is an enclosure like many others, with its paths and headstones. Yet a low concrete wall runs along two sides, and beyond it another world opens up: lawns, water channels, water lilies, cypresses and small grey buildings that seem to emerge from the ground. This is the Brion Tomb<\/strong>, which FAI calls the Brion Memorial. It was commissioned in 1969 by Onorina Tomasin in memory of her husband Giuseppe Brion, founder of Brionvega.<\/p>\n

Carlo Scarpa worked on it until his death in Japan in November 1978, and asked to be buried here, on the boundary between the private memorial and the public cemetery. The complex was completed after his death, following his drawings. For admirers of twentieth-century architecture it is a place of pilgrimage; for those who arrive knowing nothing about it, it is simply a silent garden open to everyone.<\/p>\n

We tell its story as both a completed work and an archive of forms, following the documents published by FAI and Treccani and noting where the sources differ.<\/p>\n

\"Carlo
The Brion Memorial is at once funerary architecture, garden and contemplative path.<\/figcaption><\/figure>\n

What is the Brion Tomb and where is it?<\/h2>\n

The Brion Tomb is a monumental funerary complex designed by Carlo Scarpa for the Brion family in the cemetery of San Vito di Altivole, in the province of Treviso. Built between 1970 and 1978, it is now owned by FAI. According to the Brion Memorial page on the FAI website<\/a>, it covers about 2,200 square metres and includes a monumental entrance, the arcosolium containing the tombs of Giuseppe and Onorina Brion, a waterside meditation pavilion, the relatives’ tomb and a chapel surrounded by cypresses.<\/p>\n

The site forms an inverted L that embraces two sides of the existing cemetery. An article by the University of Padua notes that the first plot purchased by the family measured just 68 square metres and that the grounds eventually expanded to more than two thousand: the scale of the work therefore emerged as the project developed. It is known by three names, all of them correct: Brion Tomb, Brion Cemetery and Brion Memorial. FAI has adopted the last of these.<\/p>\n\n\n\n\n\n\n\n\n\n\n
Element<\/th>\nWhat it is<\/th>\nDocumented materials and details<\/th>\n<\/tr>\n<\/thead>\n
Propylaea<\/td>\nMonumental entrance from the municipal cemetery<\/td>\nOpening formed by two interlocking circles, a symbol of marital love<\/td>\n<\/tr>\n
Arcosolium<\/td>\nBridge-like arch above the tombs of Giuseppe and Onorina Brion<\/td>\nConcrete; soffit clad in glass mosaic and gold leaf<\/td>\n<\/tr>\n
Water pavilion<\/td>\nPlace for meditation above a pool<\/td>\nLarch slats (the subject of 254 drawings, according to Guido Pietropoli)<\/td>\n<\/tr>\n
Relatives’ tomb<\/td>\nShrine for members of the family<\/td>\nRectangular concrete volume<\/td>\n<\/tr>\n
Chapel<\/td>\nSmall temple for funeral ceremonies<\/td>\nSurrounded by water and cypresses; interior dome in ebony and pearwood<\/td>\n<\/tr>\n
Carlo Scarpa’s tomb<\/td>\nThe architect’s burial place, at the boundary between memorial and cemetery<\/td>\nDesigned after his death by his son Tobia; it also holds his wife Nini Lazzari<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Who commissioned the Brion Tomb?<\/h2>\n
\"Brion
The memorial joins the cemetery of San Vito di Altivole as an independent enclosure.<\/figcaption><\/figure>\n

The Brion Tomb was commissioned in 1969 by Onorina Tomasin, widow of Giuseppe Brion, the entrepreneur who founded the electronics company later known as Brionvega; Giuseppe had died in 1968. The chronology is given by FAI and Treccani; in some accounts, including Domus, the client is called Rina.<\/p>\n

The Brion name carries particular weight in design history. According to the company history, in 1945 Giuseppe Brion and engineer Pajetta founded a firm called B.P.M., which moved from electrical components to radio and television during the 1950s. In the 1960s Brionvega entrusted its products to designers such as Marco Zanuso and Richard Sapper, creators of the Algol television and the TS502 cube radio in 1964, and to the Castiglioni brothers, who designed the RR126 radiogram in 1965. That period is explored further in our profiles of Marco Zanuso<\/a> and Achille Castiglioni<\/a>.<\/p>\n

The choice of Scarpa for a private commemorative work becomes clearer in this context: the family had already linked its name to the most advanced industrial design of the period. Their son Ennio Brion, who led the company and cared for the memorial for many years, died in March 2026.<\/p>\n

When was the Brion Tomb built?<\/h2>\n

The Brion Tomb was designed from 1969 and built between 1970 and 1978. After Scarpa’s death, construction was completed according to his drawings. The principal sources agree on the dates: FAI gives a construction period of 1970-1978, while Treccani dates the work from 1969 to 1978, including the year of the commission.<\/p>\n

These were also the mature years of Scarpa, who was born in Venice on 2 June 1906. He had already completed the Canova Plaster Cast Gallery in Possagno (1955-1957), the Olivetti showroom in Piazza San Marco (1957-1958), the Fondazione Querini Stampalia (1959-1963) and the Castelvecchio Museum in Verona. While working at Altivole, he was also overseeing the Banca Popolare di Verona (1973-1978). The broader picture appears in our article on Carlo Scarpa’s works and architecture<\/a>.<\/p>\n

Thousands of drawings for a garden<\/h3>\n

Scarpa drew constantly, and at Altivole more than anywhere else. Guido Pietropoli, his student and later director of the restoration work, refers to 2,200 original drawings; Il Giornale dell’Arte reports almost two thousand. The inventory edited by Erilde Terenzoni and published by Electa in 2006 catalogues 1,583 project drawings in a public archive. The figures differ because they count different bodies of material, but the scale is clear: every joint, step and pavilion slat was worked out on paper before it was built.<\/p>\n

Scarpa first visited Japan in 1969, the same year he received the commission, although Treccani notes that Eastern culture had interested him since his youth and remained a constant source of inspiration. Many observers see an echo of Japanese gardens in the relationship between water, route and pavilion. It is a widespread interpretation, rather than a statement by the architect.<\/p>\n

What do the two interlocking circles at the Brion Tomb mean?<\/h2>\n
\"Geometric
Geometry, material and light create a symbolic language that can be read on several levels.<\/figcaption><\/figure>\n

The two interlocking circles in the propylaea symbolise the union of Giuseppe and Onorina Brion, as FAI explains. The double opening in the wall introduces the memorial and immediately declares its theme: marital love beyond death. It is the most recognisable sign in the entire complex.<\/p>\n

Descriptions agree that coloured mosaic borders the two rings, one in pink or red tones and the other in blue; the sources differ in their definition of the first colour, so we leave it open. The motif reappears at different scales elsewhere in the complex. Seen from the entrance corridor, the double circle frames the lawn and water like a camera lens, making visitors pause before continuing.<\/p>\n

In a text published by FAI, Fulvio Irace calls the memorial a monument to love. Treccani stresses another dimension: like a kind of glossary, the tomb brings together forms, materials and combinations used by Scarpa throughout his career, becoming a legacy in its own right. The two circles are both a private dedication and an author’s signature.<\/p>\n

How are the arcosolium, pavilion and chapel designed?<\/h2>\n

The arcosolium, waterside pavilion and chapel are the three main episodes in the memorial, linked by paths, lawns and channels. The arcosolium is a concrete bridge-like arch sheltering the tombs of Giuseppe and Onorina Brion; its name recalls the arched burial recesses of Early Christian catacombs. Its soffit is clad in glass mosaic and gold leaf, while the two tombs, Irace writes, incline towards one another.<\/p>\n

The meditation pavilion stands over a pool with water lilies. Il Giornale dell’Arte describes a crystal door that descends into the water; Pietropoli recalls the larch slats, to which Scarpa devoted 254 drawings, and the marine plywood screens. The chapel is a small temple for funeral ceremonies, set on the water and surrounded by cypresses, with an interior dome in ebony and pearwood. A rectangular volume described by Irace contains the relatives’ tombs.<\/p>\n

Exposed concrete and mosaic<\/h3>\n

The dominant material is reinforced concrete, cast in rough-sawn fir formwork so that the surface retained the grain of the timber. Through stepped profiles, edges and incisions, the concrete acquires an almost handcrafted quality. Scarpa sets colour and light beside the grey: glass tesserae, gold leaf, alabaster and fine woods. None is decoration in the narrow sense. Pietropoli puts it plainly: “there is no gratuitous decoration in Carlo Scarpa’s architecture.”<\/p>\n

What stands out is how far this use of concrete is from the massiveness of much contemporary architecture: rough material coexists with minute detail. Those interested in comparing other treatments of exposed concrete can read our discussion of brutalism in interiors<\/a>. FAI sources also acknowledge the craftspeople who made such precision possible, from the Zanon brothers’ workshop to the Capovilla joinery in Venice.<\/p>\n

\"Detail
At the Brion Memorial, material, water and landscape create a slow sequence rather than a single monument.<\/figcaption><\/figure>\n
\n
\"Arcosolium
The arcosolium and mosaic vault shelter the sarcophagi of the Brion couple.<\/figcaption><\/figure>\n
\"Interior
Inside the chapel, concrete, zenithal light and metal details shape an intimate space.<\/figcaption><\/figure>\n
\"Circular
The circular opening frames the space and turns geometry into a perceptual device.<\/figcaption><\/figure>\n
\"Brion
Pavilion, water basins and garden create a slow sequence between architecture and landscape.<\/figcaption><\/figure>\n<\/div>\n

Four views of Carlo Scarpa\u2019s Brion Memorial. Images courtesy FAI.<\/p>\n

Where is Carlo Scarpa buried?<\/h2>\n

Carlo Scarpa is buried at the Brion Memorial in San Vito di Altivole, in a small space between the old cemetery and the Brion Tomb, as he wished. He died in Sendai, Japan, on 28 November 1978, according to the Treccani Biographical Dictionary<\/a>. His tomb was designed after his death by his son Tobia Scarpa (FAI also mentions Fabio Lombardo) and now also contains the remains of his wife Nini Lazzari.<\/p>\n

A frequently repeated story claims that the architect was buried standing upright. We found no trace of it in the institutional sources consulted, FAI and Treccani, and therefore mention it only as a tradition. A statement by Scarpa about the work, quoted by FAI, is documented: “This is the only work I willingly go back to see, because I feel I have captured the meaning of the countryside.”<\/p>\n

When was the Brion Tomb donated to FAI?<\/h2>\n

The Brion Tomb was donated to FAI on 21 June 2022 by Ennio and Donatella Brion, the children of Giuseppe and Onorina, and became the foundation’s seventieth property. The memorial opened to the public on 8 July 2022. The official announcement appears on the FAI website; Il Giornale dell’Arte notes that Ennio’s wife Giorgia and their children were also involved in the donation.<\/p>\n

The donation followed a restoration commissioned by Ennio Brion and directed by Guido Pietropoli, who graduated under Scarpa at IUAV in 1970, with Paolo Faccio as structural consultant. Pietropoli’s account describes work on oxidised reinforcement, plaster, timber elements and the waterside pavilion, including micro-sandblasting with walnut-shell powder so that the traces of the formwork would not be erased. The best compliment the architect received, he said, was that it looked as though nothing had been done.<\/p>\n

With its transfer to FAI, the tomb joined a collection that also includes Scarpa’s Olivetti showroom in Venice. It is one of the cases in which a private twentieth-century work has become collective heritage. For its place among the Italian buildings that shaped the century, see our guides to iconic Italian architectural projects<\/a> and the masters of twentieth-century architecture<\/a>.<\/p>\n

How can you visit the Brion Tomb?<\/h2>\n

The Brion Tomb can be visited freely during the opening hours of the San Vito di Altivole cemetery, entering through the propylaea. FAI also organises guided tours by reservation. Opening times, the guided-tour calendar and any special openings should be checked on the official Brion Memorial page on the FAI website, as they change with the seasons.<\/p>\n

FAI describes it as a garden open to everyone, a universal space for meditation. It remains, however, a burial ground inside an active cemetery, and visitors should behave as they would in any place of rest. A first visit deserves time. The Brion Tomb cannot be understood through a single photograph of the two circles: it reveals itself through walking, following the water and sitting in the pavilion. In 1960 Scarpa designed the Frank Lloyd Wright exhibition at the Milan Triennale and later visited Wright’s buildings in the United States in 1967. The relationship between architecture and landscape felt at Altivole enters into a distant dialogue with the works of Frank Lloyd Wright<\/a>.<\/p>\n

Frequently asked questions about the Brion Tomb<\/h2>\n

Where is Carlo Scarpa’s Brion Tomb?<\/h3>\n

The Brion Tomb is in the cemetery of San Vito, a hamlet of Altivole in the province of Treviso, between Asolo and Castelfranco Veneto. The complex covers about 2,200 square metres and forms an inverted L around two sides of the municipal cemetery. Visitors enter through the propylaea with their two interlocking circles, reached from within the cemetery.<\/p>\n

Who is buried in the Brion Tomb?<\/h3>\n

The arcosolium contains Giuseppe Brion, founder of Brionvega, who died in 1968, and his wife Onorina Tomasin, who commissioned the work in 1969. A separate shrine holds other members of the family. At the boundary between the memorial and the public cemetery stands the tomb of Carlo Scarpa, who died in 1978; his wife Nini Lazzari is now buried there as well.<\/p>\n

How long did it take to build the Brion Tomb?<\/h3>\n

The project began with the commission in 1969 and construction continued from 1970 to 1978, the year of Scarpa’s death in Japan. The site was then completed according to the architect’s drawings. The work took almost ten years, during which Scarpa produced more than two thousand drawings, 2,200 according to Guido Pietropoli, continually refining the project until the end.<\/p>\n

Is the Brion Tomb owned by FAI?<\/h3>\n

Yes. Ennio and Donatella Brion, the clients’ children, donated it to FAI, the Italian National Trust, on 21 June 2022 after a restoration directed by Guido Pietropoli. It is the foundation’s seventieth property and has been open to the public since 8 July 2022. FAI cares for the site and organises guided tours by reservation.<\/p>\n

Do you need to book to visit the Brion Tomb?<\/h3>\n

No booking is required for an independent visit: since July 2022 the memorial has been accessible during the opening hours of the San Vito di Altivole cemetery, through the propylaea. Reservations are required for guided tours organised by FAI, which have their own terms and conditions. Check the official Brion Memorial page on the FAI website for current opening times and the tour calendar.<\/p>\n","protected":false},"excerpt":{"rendered":"

Carlo Scarpa’s Brion Tomb in San Vito di Altivole: its client, symbols, materials, the architect’s burial place, donation to FAI and how to visit.<\/p>\n","protected":false},"author":23,"featured_media":28394,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"sintesi_articolo":"","footnotes":""},"categories":[334],"tags":[],"top_category":[],"class_list":["post-28163","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-architecture"],"acf":[],"yoast_head":"\nBrion Tomb: Carlo Scarpa's Memorial in Altivole<\/title>\n<meta name=\"description\" content=\"Explore Carlo Scarpa's Brion Tomb in San Vito di Altivole: history, symbols, materials, burial place, FAI donation and visitor information.\" \/>\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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