Carlo Scarpa in Palermo: Vladimir Zoric and the Restoration Experiences at Palazzo Abatellis and the Transformations of the Steri

Scarpa's architecture in Palermo has undergone several maintenance or restoration interventions over time. Scarpa works with great attention to the existing structures and the museum installations are real stage machines, complex gears to be deciphered in order to be adequately preserved. In Vladimir Zoric's interventions there is this great attention to the study of the complexity of the materials used, in relation to the local components but also to what we now recognize as a clear and unmistakable formal language. The paper studies the works of Carlo Scarpa in Palermo in two important sites: the museum organization of Palazzo Abatellis and the collaboration in the adaptation to the seat of the Rectorate of Palazzo Steri. The restoration work on these buildings became necessary just thirty years after their construction. This is due to the materials used and the unscrupulous construction techniques often pushed to the extreme limits of strength and durability. The intervention required for the adaptation of the systems and safety equipment was different. Both at Palazzo Abatellis and at the Steri there has been a change in the intended use of some rooms which entailed adaptations and modifications that are not always in line with the aims of the project, generating a real anthropic degradation. Zoric's program for Palazzo Abatelis starts from Scarpa's techniques. In fact, he knew Scarpa's language well, having often collaborated with the master and having designed together with him some permanent installations of the museum. In the paper I wanted to remember how Vladimir Zoric, with extreme sensitivity, solves the problem of lighting adaptation by opting for light sources hidden from view. He wisely uses inexpensive elements, such as fluorescent neon tubes, which are placed on the