51 Here the space was deep and poorly lit. Scarpa’s response was to create a fluid series of interconnected spaces, combining a baroque sense of movement and theatricality with a strongly linear, modernist aesthetic. Discreetly hidden sources of artificial light led the viewer around the space. By inserting mezzanine levels reached by a dynamic staircase – its marble slabs apparently floating in space – Scarpa brought the shop to life. Carlo Scarpa’s greatest contribution to Venetian architecture was his sensibility in the use of materials. Every construction detail was designed as a sculptural object in itself, dramatizing the joins between different materials wood and metal, brick and stone, marble and wood, and so on. In the years 1959-63 he remodelled the ground floor and garden of the Palazzo Querini-Stampalia, the early sixteenth-century palace that houses one of the city’s principal public libraries as well as an art gallery. 52 Here Scarpa engaged in one of his most poetic meditations on the dialogue between old and new. The palace is approached by an elegant bridge of such tactile materiality that the visitor is tempted to 178 Carlo Scarpa, former Olivetti shop in Piazza San Marco, 1957-8 179 Palazzo Querini-Stampalia, interior of ground floor, by Carlo Scarpa, 1959-63 feel every detail of the handrail.