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Andrea Palladio (1508-80)


I Quattro Libri dell’Architettura (The Four Books on Architecture), Venice 1570
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Villa Capra or Villa Rotonda, near Vicenza, c. 1566-70, for Paolo Almerico
Palazzo Chiericati, Vicenza, begun c. 1547
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Palazzo della Ragione or Basilica, Vicenza (1549) Plan of lower story, showing prexisting market structures
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Loggia del Capitaniato, Vicenza, begun 1571
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Teatro Olimpico, Vicenza (1579-80)
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San Giorgio Maggiore Venice (begun 1565)
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Il Redentore, Venice (begun 1576)
Villa Cornaro,1552,Piombino Dese, Padova 
Villa Barbaro,1549-1558,Maser 
Villa Emo,1559-1565,Fanzoli di Vedelago, Treviso 
Villa Foscari,1559-1560 Villa Capra e. La Rotonda
1567 ja 1580-1591,Vicenza lähedal

Andrea Palladio, (1518-80), "the most influential architect of the whole Renaissance"', was, as a stone mason, introduced to Humanism by the poet Giangiorgio Trissino. His first major architectural commission was the rebuilding of the Basilica Palladiana at Vicenza, in the Veneto where he was to work most of his life.

Palladio was to transform the architectural style of both palaces and churches by taking a different perspective on the notion of Classicism. While the architects of Florence and Rome looked to structures like the Coliseum and the Arch of Constantine to provide formulae, Palladio looked to classical temples with their simple peristyle form. When he used the “triumphal arch” motif of a large arched opening with lower square-topped opening on either side, he invariably applied it on a small scale, such as windows, rather than on a large scale as Alberti used it at Sant’Andrea’s. This Ancient Roman motif  is often referred to as the Palladian Arch.

The best known of Palladio’s domestic buildings is the Villa Capra, otherwise known as "la Rotonda", a centrally planned house with a domed central hall and four identical facades, each with a temple-like portico like that of the Pantheon in Rome.

Like Alberti, della Porta and others, in the designing of a church facade, Palladio was confronted by the problem of visually linking the aisles to the nave while maintaining and defining the structure of the building. Palladio’s solution was entirely different to that employed by della Porta. At the church of San Giorgio Maggiore in Venice he overlays a tall temple, its columns raised on high plinths, over another low wide temple façade, its columns rising from the basements and its narrow lintel and pilasters appearing behind the giant order of the central nave.