Academic literature on the topic 'Palladio'

The article is devoted to the study of the specific features of the development of the Palladian architectural system in the architect’s homeland in Italy. On examples of specific monuments, drawings and projects created during two and a half centuries, the peculiarities of the author’s transformation of style in the work of Andrea Palladio’s followers, the continuity of tradition, deviations from canonical rules and the results of this process are consistently studied. The buildings of the Italian branch of the architectural movements, little-known in Russia, are highlighted. The topic of cultural continuity and, at the same time, the rivalry between the Palladian style and the Baroque is touched upon. Particular attention is paid to the Italian tradition of research, additions and commentaries to the works and buildings of Andrea Palladio. The tradition developed among the professional architectural community of the Veneto region in the 18th century, significantly enriching the modern understanding of the master’s heritage.

The article covers the Architectural heritage of Andrea Palladio – as education material for Jakub Kubicki reviews artistic heritage of Andrea Palladio and analyzes its influence on the works of Jakub Kubicki. It is known that comprehensive and manysided heritage of Andrea Palladio was education material for many architects, and in the XVII century it became the basis for similarly-named architectural trend – Palladianism. Andrea Palladio (1508-1580) – is a famous architect of the Renaissance era, the author of many architectural tractates that describe the principles and stages of private estates and residences formation in detail. His works were based on symmetry, perspective and objects of value of classical place of worship of Ancient Greece and Rome. In general, Andrea Palladio, having studied traditions of folk architecture as well as likes of nobility, created model types of estates and at the same time showed almost unlimited amount of possible variations, became a founder of “architectural fashion” of Classicism era. That promoted the spread and establishment of the Palladian school where the architecture of Antique period (of Ancient Rome and, later, of Ancient Greece) was interpreted to the demands of the era, and Palladian types of country estates and city palace were used during two more centuries. Creative method or style of every architect of a certain period shapes a style of the era. In the works of architects there are reflected important issues and problems of theory and practice of architectural life of the time. J. Kubicki is also among the architects whose works attract attention with a high level of excellence. He became a mediator between the pure classicism and Empire style of the XVIII century. Although the architect was the representative of mature Classicism with the influence of Palladian school, his works have their own fingerprint and are characterized by such typical elements in the projects as sharp axial plan and symmetry of facades of palaces; simple rectangular forms in plan of a palace that were be supplemented by prominent risalits; main entrance was accentuated by portico with colonnade; the use of classical order elements that were decorated with sculptures and military emblems in façade decoration. Interior arrangement in the palaces was symmetrical, two-path, with gorgeous living-room and entrance hall that contained stairs. Interiors were profusely decorated with moulding and highlighted with colors (hence the name blue living room, gold or red room).

ABSTRACTThis article demonstrates that the most celebrated building designed by Andrea Palladio, widely known as the Villa Rotonda and begun around 1566, was left only partially constructed at the time of the architect’s death in 1580 and that, as a villa design, it was neither perfect nor ideal. Drawing on detailed records of the construction work carried out in the 1590s, the article shows that much of the villa was constructed or altered after Palladio died, in significant part so as to deal with practical difficulties and deficiencies inherent in the design originally published in Palladio’s treatise. Scholars in general have come to recognise that the Villa Rotonda is something of a palimpsest. However, it has not been properly understood that the building was largely constructed not as an adjusted scheme devised by Palladio, but rather as a strategically revised concept for a villa developed after Palladio’s time by Vincenzo Scamozzi. This preserved something of the original scheme as a hilltop belvedere — especially its outward appearance as a domed and isolated block with four near-identical porticoes — but it adapted what had been built, which was far from complete, to a much more practical vision of the requirements of rural life. What was built during this later period then remained intact until the late eighteenth century.

Andrea Palladio’s Venetian churches of San Giorgio Maggiore and Il Redentore overlook the Bay of San Marco and its tributaries, the Grand Canal and the Giudecca Canal. In Palladio and the Water-oriented Scenography of Venice, Daniel Savoy examines the churches from their surrounding waterways, explaining them as centerpieces in an elaborate program of urban scenography that must be seen as a work of collective civic authorship. Through close topographical and contextual analysis, he shows that Palladio and his patrons oriented the churches to be seen from the perspective of the waterways approaching and transversing the city while evoking the visual experience and cosmological associations of theater. The scheme accords with Palladio’s theoretical project but also builds on Venetian conventions of aquatic urbanism and symbolic geography, implicating the architect in a centuries-old tradition in which the mythical image of Venice was projected through the city’s spectacular waterfront architecture.

Tanulmányom fókuszában alapvetően nem az építészeti megoldások állnak, bár a témából adódóan természetesen ezekre is kitértem, sokkal inkább arra voltam kíváncsi, hogy milyen eszmények, értékrendszerek, kulturális hatások álltak ezen építészeti eszközök alkalmazásának hátterében. Írásomban a következő kérdésekre kerestem a választ: Mit jelent az ideális város a reneszánszban, mit jelent Palladio műveiben? Milyen szemlélet áll mindennek a hátterében és miben tükröződik ez vissza? Honnan merítette Palladio az építészeti eszményeit, miért érdeklődtek a művei iránt oly intenzíven a későbbi történelmi korszakokban is? A téma megértéséhez megvizsgáltam az érett reneszánsz korszakának szellemi, kulturális, városépítészeti sajátosságait, áttekintettem azokat a hatásrendszereket, amelyek Palladio gondolkodására és művészi kifejezésmódjára meghatározók voltak. Elsősorban az ókori építész és teoretikus, Vitruvius elméleti munkáját tanulmányoztam, hiszen alapmű volt általában véve a reneszánsz építészek, így Palladio számára is. Ezek után a reneszánsz alkotó, Leon Battista Alberti munkásságát és összefoglaló építészeti művét mutattam be, hiszen Palladióra nagy valószínűséggel ő volt a legnagyobb hatással. A reneszánsz ideális város egy megvalósult példája volt Bernardo Rossellino városépítő műve, aki II. Pius pápától kapta a megbízatást egy tökéletes város felépítésére, amely a pápa nevét kapta, s így lett Pienza. Palladiónak először a teoretikus munkásságáról írtam, majd az általa elképzelt ideális várost, Vicenzát mutattam be, az általa épített, legfontosabb épületek elemzésével. Végül Palladio hatására hívtam fel a figyelmet, vagyis a palladianizmus jelenségére Európában és Észak-Amerikában. Célom, a szakirodalmi elemzés és saját tapasztalataim alapján az egyes korszakokon átívelő eszmék művészi kifejezésének vizsgálata volt, egy konkrét művész, Palladio tevékenységén keresztül.

The article deals with the problem of images of active and contemplative life on the example of translations of the 1570 treatise by the Italian architect of the Late Renaissance Andrea Palladio Four Books on Architecture. A widely read treatise in different countries and cultural regions of Europe has been translated into different languages (French, English, Russian). This article will refer to the English translation of Giacomo Leoni in 1715 and the Russian edition of I. V. Zholtovsky in 1936. Analysis of the translations of G. Leoni and I. V. Zholtovsky allows us to determine the significance of A. Palladio’s treatise on European and world culture. The main equivalents of Palladio’s treatise are the concepts of words borrowed from the Roman architect Vitruvius: convenience, strength, and beauty. Each of the translators, according to the context of the time, was looking for their equivalents to Italian words, thereby supplementing and expanding the meanings discovered and declared by Palladio in his theory and practice. But despite this, one thing remained unchanged: the forms reflected the era (macrocosm), methods of thinking, and the structure of the inner world (microcosm) of the individual.

Abstract The palace of Duke Ludwig X in Landshut provides insight into the research concerning the development of Andrea Palladio. The palace is a link that illuminates the relationship between Palladio and Giulio Romano. For the “German wing,” the still unknown architect presented a remarkably innovative design. The duke had a second palace built behind the first after he had seen the Palazzo Te. The form of the “Italian wing,” with its refined combination of palace and villa, supports the authorship of Romano. That Palladio, for his famous project for Iseppo da Porto, took over the site in Landshut designed by Romano confirms the close relationship between the two architects. In I Quattro Libri, Palladio would later name the combination of the palace and the villa Casa degli antichi.