The historic – critical literature has recognized in Carlo Scarpa’s work the most cultured expression ofthe Italian 1900s. His research is intended to communicate the strength of his message over a longtime, as this is what is demanded to things produced by humankind to prove the nature ofmasterpieces.Scarpa has combined the knowhow of the techniques to the deep perception of the spatial values ofthe architectural interior, conceived in its nature of spatial entity intended to contain men and toenrich the meaning of their living experience. At the beginning of his research, he focuses on theworks of the Masters of modern architecture.After his training years in the workshops of the master glassmakers of Murano, the outfitting of PaulKlee’s exhibition, in 1948, marks the beginning of a season of skilled works. Among these are theproject of the pavilion of Venezuela at the Biennial festival of Venice in 1958 and the restoration andthe exhibition design of Palazzo Abatellis in Palermo between 1953 and 1954. Here Scarpa manages toengage the visitor through the creation of appropriate light conditions, through the attention and theelegance of the details that enhance not only the works displayed, but also the space and the relationthat it establishes with the people. Between 1957 and 1975, Scarpa works on the restoration of the civicmuseum inside the fortress of Castelvecchio in Verona, a medieval complex deeply modified duringthe Napoleonic period. In this restoration work, he is called to recompose fractioned series through agradual approach. He designs paths that affect the whole palace; he works on the hedges of thegarden and on the various pavements; he recreates the vertical paths with steps and gangways; andfinally he places the equestrian statue of Cangrande, lord of that palace, on a high cement plate to makeit visible from every corner of the court. The expansion of the Gipsoteca Canoviano Museum inPossagno, between 1955 and 1957, offers an extraordinary lesson of architecture, of interiorarchitecture and, above all, of space construction through light. The inside exalts the artistic quality ofthe sculptures in an incomparable way and the value of the erected space as a place for human living.The contemplation of the architect’s work offers the opportunity to examine the general meaning thatis given to the word “oikologia” in depth. I believe, indeed, that to use the concept of “oikologiccommitment” as I have done to define the quality of Scarpa’s research, and those like “oikologia”,“oikologic vocation of architecture “, “oikologic horizon of the project” means to inspect the preciousinheritance that the Maestro has left to the architectural culture of our time and to that of futuregenerations.