Alone and silent among the Asolo hills, there is Tomba Brion; sepulchral garden on which Carlo Scarpa worked from 1969 until 1978, the year of his premature death. This architectural complex, which can be reached through the cemetery of San Vito di Altivole, in the high Treviso plain, is perhaps one of the most complex works of the Venetian architect; the highest point of his thought, made of borrowed landscapes and cultural syncretism.Entering a sort of itinerary of memory, which passes through reinforced concrete structures, marbles and expanses of clear water, you can see how the various geometric shapes are repeated, constituting a leitmotiv that informs not only the constructive and formal plant of the artifact, but also its intersection with the landscape all around.The wall that delimits the border aligns, as G.Frediani maintains on the height of the eyes to create an artificial horizon on which the nearest objects (tops of the cypresses and the bell tower of San Vito) mix with the profiles of the ridges in the distance (Asolo with its Rocca, the Grappa Massif).The harmony of the place is palpable; each element finds correspondence with the others, in a dialogue with nature and the external landscape that leaves the visitor positively involved in a path that becomes a concrete experience of discovery. What Scarpa has managed to create is a dimension of eternity; a useful space to rethink life, death, individual and collective memory, in a suspended and rarefied atmosphere.