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Journal articles on the topic 'Palladio'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Tsvetkova, Polina O. "THE ITALIAN BRANCH OF THE FOLLOWERS OF ANDREA PALLADIO. 17TH-18TH CENTURIES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (2021): 58–76. http://dx.doi.org/10.36340/2071-6818-2021-17-5-58-76.

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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.

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2

I., Pohranychna. "ARCHITECTURAL HERITAGE OF ANDREA PALLADIO – AS EDUCATION MATERIAL FOR JAKUB KUBICKI." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (2020): 147–53. http://dx.doi.org/10.23939/sa2020.02.147.

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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).

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3

Hopkins, Andrew. "Neither Perfect Nor Ideal: Palladio’s Villa Rotonda." Architectural History 65 (2022): 155–94. http://dx.doi.org/10.1017/arh.2022.9.

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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.

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4

Savoy, Daniel. "Palladio and the Water-oriented Scenography of Venice." Journal of the Society of Architectural Historians 71, no. 2 (2012): 204–25. http://dx.doi.org/10.1525/jsah.2012.71.2.204.

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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.

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5

Farkas, Julianna. "Palladio: Citta ideale." Multidiszciplináris kihívások, sokszínű válaszok, no. 1. Különszám (June 30, 2023): 7–38. http://dx.doi.org/10.33565/mksv.2023.ksz.01.01.

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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.

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6

Mokhova, Ekaterina. "The correlation of urban and country lifestyles (on the example of A. Palladio’s architecture)." Urbis et Orbis Microhistory and Semiotics of the City 3, no. 2 (2023): 214–25. http://dx.doi.org/10.34680/urbis-2023-3(2)-214-225.

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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.

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7

Endemann, Klaus. "Giulio Romano und Andrea Palladio Die Landshuter Residenz Herzog Ludwigs X. und ihre Rezeption in den frühen Palastkonzepten Palladios." Zeitschrift für Kunstgeschichte 80, no. 1 (2017): 35–82. http://dx.doi.org/10.1515/zkg-2017-0002.

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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.

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8

Economou, Athanassios, and Matthew Swarts. "Performing Palladio." International Journal of Architectural Computing 4, no. 3 (2006): 47–61. http://dx.doi.org/10.1260/147807706778658865.

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9

O'Brien, William. "Palladio Virtuel." Journal of Architectural Education 70, no. 2 (2016): 329–30. http://dx.doi.org/10.1080/10464883.2016.1197691.

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10

Sdegno, Alberto. "UNBUILT PALLADIO." New Review of Information Networking 12, no. 1-2 (2006): 109–18. http://dx.doi.org/10.1080/13614570601136321.

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11

Pepe, Franco. "ANDREA PALLADIO." Sculpture Review 50, no. 1 (2001): 24–29. http://dx.doi.org/10.1002/j.2632-3494.2001.tb00142.x.

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12

La Follette, Laetitia. "A Contribution of Andrea Palladio to the Study of Roman Thermae." Journal of the Society of Architectural Historians 52, no. 2 (1993): 189–98. http://dx.doi.org/10.2307/990785.

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Andrea Palladio's measured plan of a bath complex on the Aventine Hill in Rome is of considerable interest in view of current skepticism about the archaeological accuracy of Palladio's studies of baths. This article shows first that the drawing is the result of Palladio's own survey of this complex, the Baths of Trajan Decius (A. D. 249-51); secondly it demonstrates the accuracy of Palladio's measurements; and thirdly, on the basis of Palladio's inscription on the plan, it redates the drawing to Palladio's last trip to Rome in 1554, and argues that Palladio learned of the complex from the Roman antiquarian and archaeologist, Pirro Ligorio. The plan of the Baths of Decius thus illustrates that Palladio's interest in Roman baths went beyond the most famous examples of thermae in Rome. His survey is shown to have been extremely accurate in measuring the remains of this complex, while his inscription indicates that he sought the most up-to-date (albeit erroneous) antiquarian information for the lesser-known monuments he drew.

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13

Heyman, Jacques. "Palladio's wooden bridges." Architectural Research Quarterly 4, no. 1 (2000): 81–86. http://dx.doi.org/10.1017/s135913550000244x.

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In Book 3 of his Four Books on Architecture (1579), Palladio gives alternative designs for a wooden trussed bridge to span a river 100ft wide. The designs are ingenious, and analysis of Palladio's proposals shows that the bridges would have been effective. Some of the details, however, seem to be at variance with the expected structural action of the bridges, and there remain problems (not fully answered here) of practical construction.

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14

Günther, Hubertus. "Goethe begegnet Palladio." Jahrbuch des Freien Deutschen Hochstifts 2020 (May 1, 2021): 76–120. http://dx.doi.org/10.46500/83533815-002.

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15

Williams, Kim. "Learning from Palladio." Nexus Network Journal 7, no. 1 (2005): 166–68. http://dx.doi.org/10.1007/s00004-005-0016-0.

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16

Dawes, Michael J., Michael J. Ostwald, and Ju Hyun Lee. "The Mathematics of ‘Natural Beauty’ in the Architecture of Andrea Palladio and Le Corbusier: An Analysis of Colin Rowe’s Theory of Formal Complexity Using Fractal Dimensions." Fractal and Fractional 7, no. 2 (2023): 139. http://dx.doi.org/10.3390/fractalfract7020139.

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In a famous architectural discussion, Colin Rowe links the geometric properties of two sixteenth century villas by Andrea Palladio and two twentieth century villas by the architect Le Corbusier. Rowe observed that different structural systems produced heightened geometric complexity in cross sections through Palladio’s villas and in Le Corbusier’s plans. Rowe also described a particular type of geometric scaling in portions of the four villas which he partially explains as a type of mathematical ‘natural beauty’ akin to the golden ratio and Fibonacci sequence. In his writings, Rowe refers to several geometric properties that encapsulate complex, scaled structures, but he lacked a mathematical system to rigorously describe and test his ideas. The present paper utilises the box-counting method for calculating fractal dimensions to analyse 100 images, consisting of architectural plans, sections, and elevations of the four villas and two Fibonacci sequences, to test Rowe’s ideas. Ultimately, the results of this research do not support the majority of Rowe’s claims about geometric complexity in the villas of Palladio and Le Corbusier, but they do provide insights into Rowe’s discussion of geometric scaling and the properties of four famous houses.

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17

Gudelj, Jasenka, and Petar Strunje. "Palladio i Dioklecijanova palača: renesansni arhitektonski crteži splitskog sklopa." Ars Adriatica, no. 5 (January 1, 2015): 127. http://dx.doi.org/10.15291/ars.522.

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The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural structure on the east Adriatic coast. Today, they are housed at the Royal Institute of British Architects in London and in the Devonshire collection, Chatsworth. A detailed analysis of the drawing technique, the paper, the handwriting and the style of the drawings, have confirmed the opinion of the scholars who argued that the ground-plan of the emperor’s mausoleum was drawn by an unknown artistand that Palladio added his sketches at a later point; the drawing of the mausoleum’s portal was also made by the same artist. Both drawings were most probably produced in Vicenza during the last quarter of the sixteenthcentury. The ground-plan of the palace itself was drawn by Palladio on the basis of an earlier source. It is likely that a version of the palace ground-plan whichhad served as a model to Palladio remained at Split and that the drawings published by Daniele Farlati in the eighteenth century relied on it rather than on those produced by Johann Fischer von Erlach, as it was argued until now.

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18

Gudelj, Jasenka, and Petar Strunje. "Palladio i Dioklecijanova palača: renesansni arhitektonski crteži splitskog sklopa." Ars Adriatica, no. 5 (January 1, 2015): 127. http://dx.doi.org/10.15291/ars.935.

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The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural structure on the east Adriatic coast. Today, they are housed at the Royal Institute of British Architects in London and in the Devonshire collection, Chatsworth. A detailed analysis of the drawing technique, the paper, the handwriting and the style of the drawings, have confirmed the opinion of the scholars who argued that the ground-plan of the emperor’s mausoleum was drawn by an unknown artist and that Palladio added his sketches at a later point; the drawing of the mausoleum’s portal was also made by the same artist. Both drawings were most probably produced in Vicenza during the last quarter of the sixteenth century. The ground-plan of the palace itself was drawn by Palladio on the basis of an earlier source. It is likely that a version of the palace ground-plan which had served as a model to Palladio remained at Split and that the drawings published by Daniele Farlati in the eighteenth century relied on it rather than on those produced by Johann Fischer von Erlach, as it was argued until now.

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19

Kolb, Carolyn. "Review: Palladio, Ein Symposium by Kurt W. Forster, Martin Kubelik, Palladio." Journal of the Society of Architectural Historians 45, no. 4 (1986): 415–16. http://dx.doi.org/10.2307/990215.

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20

de Spinadel, Vera W. "“Triangulature” in Andrea Palladio." Nexus Network Journal 1, no. 1-2 (1999): 117–20. http://dx.doi.org/10.1007/s00004-998-0010-4.

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21

Wassell, Stephen R. "Andrea Palladio (1508-1580)." Nexus Network Journal 10, no. 2 (2008): 213–26. http://dx.doi.org/10.1007/s00004-008-0066-1.

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22

Escobar, Jesús. "Palladio, el Arquitecto, 1508–1580 and Palladio and His Legacy: A Transatlantic Journey." Journal of Architectural Education 64, no. 1 (2010): 142–44. http://dx.doi.org/10.1111/j.1531-314x.2010.01109.x.

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23

Wiroj Sheewasukthaworn. "Palladian Architecture in Thailand : Its meanings and Evolution." Journal of Electrical Systems 20, no. 4s (2024): 1668–77. http://dx.doi.org/10.52783/jes.2230.

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This research aims to study Palladian architecture in Thailand focusing on its meaning and evolution Palladian architecture is originated from an Italian architect, Andrea Palladio, in the Renaissance period. The distinctive identity is that it has beautiful proportions that are harmoniously consistent, with the style which unraveled from ancient Greco-Roman architecture. Around the 17th century, Palladian architectural style was popular in Europe. Therefore, It can be clearly reflects as a symbol of Western architecture. In 19th century, Western powers began to gain more influence in Southeast Asia as well as in Thailand. The arrival of Westerners led to the development of western architecture in many cities. The Palladian architectural style was used as a model for the design of many buildings. This study finds that Western architects worked in Thailand had applied their knowledge of classical architecture to design the buildings according to Thai’s cultures. Palladian architecture in Thailand are mostly applied for large buildings. Its layout is outstanding. The main circulation uses the central hall as a link to different functions. Palladian architecture reflected luxury, simply majestic, easy to be applied to suit the terrain and modernity equivalent to the developed western nations.

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24

Cevese, Renato. "André Chastel au Centre Palladio." Revue de l'Art 93, no. 1 (1991): 49–50. http://dx.doi.org/10.3406/rvart.1991.347929.

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25

Lancha, Joubert José. "Os dois textos de Palladio." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP, no. 17 (June 1, 2005): 76. http://dx.doi.org/10.11606/issn.2317-2762.v0i17p76-87.

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26

William J. Lillyman. "Andrea Palladio and Goethe's Classicism." Goethe Yearbook 5, no. 1 (1990): 85–102. http://dx.doi.org/10.1353/gyr.2011.0335.

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27

March, Lionel. "Palladio, Pythagoreanism and Renaissance Mathematics." Nexus Network Journal 10, no. 2 (2008): 227–44. http://dx.doi.org/10.1007/s00004-007-0067-5.

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28

Cevese, Renato, and Nadine Blamoutier. "André Chastel au Centre Palladio." Revue de l'art N° 93, no. 3 (1991): 49–50. http://dx.doi.org/10.3917/rda.093.0049.

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29

Vitali, M., and E. C. Giovannini. "PORTA PALATINA HISTORIC SURVEY DRAWINGS: DIGITAL REPLICAS AND COMPARISON WITH UPDATED DIGITAL ACQUISITION." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 785–91. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-785-2021.

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Abstract. The proposed research aims at a comparison of the main historical surveys conducted on the Porta Palatina by different authors, with the data of a current digital survey. Through a work of redrawing and superimposition of information deducted from historical drawings, the analysis will highlight the consistency, discrepancies and inconsistencies of these drawings compared to the current state of the artefact. Therefore, the instrumental survey, necessary for the subsequent stages of graphical analysis, was carried out using photogrammetric techniques and Metashape software.The drawings taken into consideration for this work are those by Sangallo (1494–1497 ca.), by Palladio (1566 ca.), by Promis (1869) and by D'Andrade (1883): they constitute a very interesting documentary heritage, although heterogeneous, in which qualitative drawings (Sangallo), scaled drawings (D'Andrade), measured drawings (in vicentine’s feet for Palladio, in meters for Promis) alternate.

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30

Howe (book author), Eunice D., and Antonio Franceschetti (review author). "Andrea Palladio. The Churches of Rome." Quaderni d'italianistica 13, no. 2 (1992): 334. http://dx.doi.org/10.33137/q.i..v13i2.10153.

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31

Baldissini, S., and M. Gaiani. "Interacting with the Andrea Palladio Works." Journal on Computing and Cultural Heritage 7, no. 2 (2014): 1–26. http://dx.doi.org/10.1145/2611374.

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32

Syndikus, Candida, and Bruce Boucher. "Palladio, Der Architekt in seiner Zeit." Zeitschrift für Kunstgeschichte 60, no. 3 (1997): 414. http://dx.doi.org/10.2307/1482858.

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33

Lee, Valeria Sestieri, and Eunice D. Howe. "Andrea Palladio. The Churches of Rome." Italica 70, no. 2 (1993): 241. http://dx.doi.org/10.2307/479897.

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34

KIRISHIKI, SHINJIRO. "THE MULTIPLE CHARACTER OF ANDREA PALLADIO." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 375 (1987): 126–33. http://dx.doi.org/10.3130/aijax.375.0_126.

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35

Calduch, Juan. "Palladio y Piranesi ante las ruinas." Loggia, Arquitectura & Restauración, no. 6 (December 20, 1998): 24. http://dx.doi.org/10.4995/loggia.1998.5340.

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<p>“Tanto Palladio como Piranesi se enfrentan con la herencia romana de las ruinas para extraer enseñanzas que afectan a la propia disciplina arquitectónica. Una disciplina que se revela autónoma e independiente de otras como la historia o la arqueología volcadas sobre el mismo objeto de estudio”. A partir de estas consideraciones y de un agudo análisis del diferente enfoque de estos arquitectos dibujando la misma arquitectura de las ruinas romanas, el autor extrae consecuencias sobre los intereses profesionales de los arquitectos cuando se enfrentan con la arquitectura monumental y la necesidad de recuperar un juicio crítico de las intervenciones actuales propio de la disciplina arquitectónica.</p>

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36

Marshall, David. "Palladio and Palladianism (review)." Parergon 10, no. 1 (1992): 158–59. http://dx.doi.org/10.1353/pgn.1992.0021.

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37

Kulawik, Bernd. "Sangallo, Vignola, Palladio and the Roman «Accademia de lo Studio de l’Architettura»." TEMPORÁNEA. Revista de Historia de la Arquitectura, no. 2 (2021): 52–79. http://dx.doi.org/10.12795/temporanea.2021.02.03.

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Bernd Kulawik is a trained marine engineer who studied physics, musicology and philosophy at the Technical Universities of Dresden and Berlin. MA thesis in 1996 about Monteverdi’s «Seconda Pratica». PhD in 2002 with a dissertation about drawings in the Berlin «Codex Destailleur D» for Antonio da Sangallo the Younger’s last project for St. Peter’s in Rome. Since 1988 he worked in research libraries and institutes in Berlin, Rome, Berne, Einsiedeln and Zurich, mostly as developer for database projects. Since 2013 he could take up his research about the study of ancient architecture in Renaissance Rome which led to the rediscovery of the forgotten «Accademia de lo Studio de l’Architettura». This academy almost completely realised Claudio Tolomei’s ambitious program from 1542 formerly believed to be unrealisable. Other research interests are the history of philosophy, Renaissance music and the epistemic and technical preconditions as well as long-time perspectives of the Digital Humanities.

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Day, Alan, and Vaughan Hart. "The architectural guidebook: from Palladio to pod." Architectural Research Quarterly 11, no. 2 (2007): 151–58. http://dx.doi.org/10.1017/s1359135507000620.

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In 1554 the Renaissance architectural master, Andrea Palladio (born Andrea della Gondola, or ‘di Pietro’), produced two little-known guidebooks to the city of Rome. These were unillustrated texts, one of which described the ancient wonders of the city while the other concentrated on the later medieval churches. Guidebooks of this kind had existed since medieval times but Palladio introduced a new kind of structure to the guide by organising the material into logical routes which the tourist could follow. Since then architectural guidebooks have proliferated and the introduction of photography and high quality graphics has changed their appearance significantly. However, in many respects things have not altered a great deal. Architectural guidebooks still present a view of a city which is that of a single individual (or small group of authors) and the selection of the material determines what is deemed to be of significance. Some guides, such as those by Nikolaus Pevsner, attempt to present the buildings in as neutral a way as possible in order to give the work a degree of objectivity but, nonetheless, the visitor is still being presented with a particular view of the city.

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de, Jorge-Huertas, and Jorge-Moreno de. "Palladio and the Mediterranean heritage the patio, atrium and portico as geometrical and well-being strategies." Spatium, no. 41 (2019): 1–13. http://dx.doi.org/10.2298/spat1941001j.

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Palladio?s heritage has aspects that are interrelated with the vernacular architectural heritage of the Mediterranean, and it entails a collective knowledge. The aim of this research is to analyse his work and its evolution over time, paying specific attention to three architectural design elements: the patio, the portico and the atrium in relation to their proportions and ratios. This work will highlight how geometry shapes the space and the form of these three elements, producing architecture for well-being. The main results may constitute a possible new frontier of research where these three design elements make a connection between interior and exterior spaces, strengthen a greater visibility of the geometry, create ?intermediate spaces? and enhance the idea of a ?Continuous Monument?. The paper will underline how mathematical factors such as proportions, ratios and constructive geometry, together with climatic reasons, are important in architecture for both its configuration and geometry and they are a constant in Palladio?s heritage and his Mediterranean cultural influence.

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Wassell, Stephen R. "Review: Learning from Palladio by Branko Mitrović." Journal of the Society of Architectural Historians 64, no. 1 (2005): 109–11. http://dx.doi.org/10.2307/25068130.

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Hopkins, Andrew, and Bruce Boucher. "Andrea Palladio: The Architect in His Time." Sixteenth Century Journal 25, no. 4 (1994): 996. http://dx.doi.org/10.2307/2542333.

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KIRISHIKI, SHINJIRO. "ON THE VICENTINE FOOT OF ANDREA PALLADIO." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 360 (1986): 85–92. http://dx.doi.org/10.3130/aijax.360.0_85.

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Mukhin, Andrej S. "Palladian landscape as a cultural heritage." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 67–72. http://dx.doi.org/10.30725/2619-0303-2023-3-67-72.

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The article is devoted to the formal and semantic unity of architecture and its natural environment. The author considers the Palladian landscape as a harmonious combination of elements dating back to the architecture of the late Renaissance, to the work of Andrea Palladio. The study identifies examples of the use of compositional techniques to create an artistic and symbolic unity of the building and landscape space, natural or man-made. The Italian experience of the Renaissance is projected onto the evolution of the building art of Modern and Contemporary times. The environment of the monument is understood as cultural heritage. The problems of preserving urban clusters, as well as suburban and rural areas of historical and cultural value, are outlined. The utilitarian nature of the use of «free spaces» during compacted development, which destroys the optical connections of historical locations, which must be preserved to achieve visual effects in the process of comprehending the aesthetic and semiotic essence of architectural heritage objects, is revealed.

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Solís Rebolledo, Gabriela. "La imagen como idea Andrea Palladio y los dibujos de Aldo Rossi: Sala nuova del teatro La Fenice e Interno con teatro del mondo." Bitácora arquitectura, no. 30 (March 1, 2015): 54. http://dx.doi.org/10.22201/fa.14058901p.2015.30.56626.

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<p>El propósito de este estudio es demostrar que es posible practicar una lectura coherente del dibujo Interno con Teatro del Mondo de Aldo Rossi en tanto reflejo de su interpretación de la metodología proyectual de Andrea Palladio como idea y forma del proceso de diseño del espacio arquitectónico.</p>

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Tsvetkova, Polina O. "Palladian Architecture of Denmark in the 17th-18th Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (2022): 53–62. http://dx.doi.org/10.36340/2071-6818-2022-18-1-53-62.

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The article examines the progressive line of development and evolution of the Palladian architectural direction in Denmark in the 17th-18th centuries. The article examines the influence of the international Palladian movement, and, in particular, French classicism and Dutch Palladianism. On the example of specific buildings, the chronology of the disclosure of the typology of the classical architectural tradition, the transformation of the order system, various transcriptions of the heritage of A. Palladio are traced. The creative continuity of architectural dynasties and the participation of foreign architects in the formation of the national architecture of Denmark in the designated time are studied. In the context of common European architectural trends, the author considers the distinctive character of the Danish school of architecture. On the example of cult architecture, a typology of the church facade, new for the Scandinavian countries, is revealed with the use of a strict order system. Attention is paid to the new principles of urban planning in Copenhagen, which have influenced the appearance of other Danish cities. Examples of the transmission of the idea of a Palladian villa and palazzo in aristocratic residences of Denmark and in city palaces of the nobility are considered. Summarizing the overview impression of the creative heritage of the Danish Palladians in the conclusion, the article makes a number of general analytical conclusions regarding the exceptional originality of this phenomenon.

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Baró Zarzo, José Luis, and Federico Javier Iborra Bernad. "Los proyectos didácticos de Fornés y Gurrea: el contexto académico valenciano de la primera mitad del siglo XIX = The Didactic Projects of Fornés y Gurrea: The Valencian Academic Context of the First Half of the 19th Century." Cuaderno de Notas, no. 24 (September 30, 2023): 16–29. http://dx.doi.org/10.20868/cn.2023.5190.

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AbstractThe Álbum de proyectos by the academic Fornés y Gurrea (ca. 1777-1856) continues the tradition of collections of own designs conceived as models of practical application for architects, that Palladio already begun in the second of his Quattro Libri dell’Architettura. It is however an exceptional case within the Hispanic production, more focused on constructive themes. From a theoretical point of view, the links with the French treatises of the 18th century are clear in Fornés’ work, a debt that also extends to the project composition, with a Palladian-based formal repertoire to which purely neoclassical resources are superimposed, without renouncing the Valencian constructive tradition. This article explores the sources, connections, and cross-references of the Álbum’s projects, a treatise that can be paradoxically described as novel and epigonal. Novel, for being the first in Spain in the form of a compendium of projects; epigonal, because it was published at a time when the decay of academicism has already begun.ResumenEl Álbum de proyectos del arquitecto académico Manuel Fornés y Gurrea (ca. 1777-1856) continúa con la tradición de las colecciones de diseños propios pensados como modelos de aplicación práctica para arquitectos, que ya iniciase Palladio en el segundo de sus Quattro Libri. Se trata, sin embargo, de un caso excepcional dentro de la producción hispánica, más centrada en temas constructivos. Desde el punto de vista teórico, en la obra de Fornés son nítidos los vínculos con la tratadística francesa del XVIII, una deuda que se extiende asimismo a la composición proyectual, con repertorio formal de base palladiana al que se superponen recursos netamente neoclásicos, sin renunciar a la tradición constructiva valenciana. El presente artículo indaga en las fuentes, conexiones y referencias cruzadas de los proyectos del Álbum, tratado que puede ser calificado paradójicamente como novedoso y epigonal. Novedoso, por ser el primero en España con formato de compendio de proyectos; epigonal, por ver la luz en un momento en que el declive del academicismo ya se ha iniciado.

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Beltramini, G., S. Baldissini, M. Gaiani, and S. Garagnani. "TRAINING STUDENTS IN GETTING ARCHITECTURAL KNOWLEDGE FROM SMARTPHONE-BASED PHOTOGRAMMETRY: THE FIREPLACES BY ANDREA PALLADIO." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 195–202. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-195-2023.

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Abstract. Since 2021, the Centro Internazionale di Studi di Architettura Andrea Palladio (CISAAP) in Vicenza and the Department of Architecture at the University of Bologna collaborated for a didactical joint initiative involving students from the Photogrammetry for Architecture course. The main goal was to develop a new teaching approach for architectural education exploiting photogrammetry as a digital tool for joining the Architectural Heritage (AH) documentation with the architecture analysis and design interpretation. Beginning from the new technological advances (semi-automatic workflows and smartphone cameras use), a ‘learning-by-doing’ didactical method and situated real work problems, a whole systematic process, based on the concept of a digital copy of an architectural artifact as mean to collect and to aggregate knowledge, was developed and inferred to the student. Starting from the designed teaching path, in which the perspectives of the historian, the surveyor, and the designer are blended to get a holistic vision of the architecture, 29 fireplaces by Andrea Palladio were chosen as emblematic case studies. These microarchitectures let students understand the complexities of historic objects and of their digitalization to produce 3D models as outcomes of an acquisition pipeline useful to train them for a future professional career.

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ORMISTON, ROSALIND. "PALLADIO BY GUIDO BELTRAMINI AND HOWARD BURNS (EDS)." Art Book 16, no. 3 (2009): 22. http://dx.doi.org/10.1111/j.1467-8357.2009.01042.x.

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Hoppe, Ilaria. "Fenestra prospectiva. Architektonisch inszenierte Ausblicke: Alberti, Palladio, Agucchi." Zeitschrift für Kunstgeschichte 82, no. 3 (2019): 448–51. http://dx.doi.org/10.1515/zkg-2019-3008.

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Eilouti, Buthayna. "Sinan and Palladio: Two Cultures and Nine Squares." International Journal of Architectural Heritage 6, no. 1 (2012): 1–18. http://dx.doi.org/10.1080/15583058.2010.495821.

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