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Andrea Palladio

 Italian Renaissance Architect, 1508- 1580


 Influenced by Greek and Roman Architecture, primarily by
Vitruvius, most influential individual in history of Western
Architecture
 He has contributed to Theory of Architecture through I Quattro
Libri dell` Architeturra( The Four Books of Architecture) 1570
 Though Palladio built in small part of Italy his influencing was far
reaching and the credit goes to his culturally, socially, sensitive
book
 He apperenticed as stone cutter, studied antique architecture in
Rome stimulated by Trissino, Palladio (meaning wise one) gets his
name from Trissino
 Palladio benefitted from patronage of Barbaros after death of
Trissino
 The Palladian style is named after him
 He describes his work in his book
 He contributed to architecture through High Renaissance calm
and harmony
 He designed many palaces ,villas and churches
 The city of Vicenza saw a lot of his Villas, and Venice his churches
 Other buildings found within the Venice and its Lagoon World
Heritage Site
Andrea Palladio

 He produced Culturally sensitive architecture along with beauty


and harmony
 Powerful integration of beauty and the physical representation of
social meanings is apparent in three major building types: The
Urban Palazzo , the agricultural Villa, and the church

 The urban structures he developed a new improved version of


the typical early renaissance palazzo PALAZZO THIENNE
 The main living quarters of the owner on the second level are http://www.unav.es/ha/005-PALA/palazzo-palladio.htm
distinguished in importance by use of pediment , classical portico
, centered and raised above the subsidiary and utilitarian ground
level
 The tallness of the portico is achieved by incorporating the
owner`s sleeping quarters on the third level, within the giant two
story classical colonnade, a motif adapted
 The elevated main floor level came to be known as ‘Piano Noble’

 Agricultural Villas were treated as stand alone buildings ,


arranged in a highly organized whole dominated by a strong
center and symmetrical side wings
 The Palladian villa configuration often consists of a centralized
block raised on an elevated podium, accessed by grand steps and
flanked by lower service wings,
 The rustication of exposed basement walls of Victorian
residences is a a late remnant of the Palladian format, clearly
expressed as a podium for the main living space for the family
http://www.palazzovalmaranabraga.it/
Andrea Palladio

 Palladio created a new configuration for the


design of Churches (catholic) that
established two interlocking architectural
orders, each clearly articulated yet
delineating a hierarchy of larger order
overriding a lesser order.
 This idea was in direct coincidence with the
rising acceptance of the theological ideas
which stated notion of two worlds existing
simultaneously; the divine and earthly
world Villa Foscari: facing the Brenta

 In a time when religious dominance in


Western culture was threatened by the
rising power of science and secular
humanists, this architecture found great
favor with the Church as a clear statement
of the proper relationship of the earthly and
the spiritual worlds
 330 sketches with Royal Institute of British
Architects
Andrea Palladio

 VILLA ROTUNDA
 RENAISSANCE VILLA, JUST OUTSIDE VICENZA, DESIGNED BY
ANDREA PALLADIO ,COMPLETED BY CAPRA BROTHERS
 CONSERVED AS WORLD HERITAGE SITE
 INSPIRED BY THE PANTHEON IN ROME
 LOCATED ON A HILL TOP
 SOPHISTICATED BUILDING WAS DESIGNED FOR A
SUBURBAN CONTEXT
 MORE OF A PALAZZO THAN A VILLA
 HUMANIST BUILDING
 IN ORDER FOR EACH ROOM TO HAVE SOME SUN, THE
DESIGN WAS ROTATED TO 45 DEGREES FROM EACH
CARDINAL POINT OF THE COMPASS
 EACH OF THE FOUR PORTICOS HAS PEDIMENTS GRACED BY
STATUES OF CLASSICAL DEITIES
 THE PEDIMENTS WERE SUPPORTED BY SIX IONIC COLUMNS
 EACH PORTICO FLANKED BY A SINGLE WINDOW
 ALL PRINCIPAL ROOMS WERE ON THE SECOND FLOOR OR
PIANO NOBILE
 ONE OF THE MAJOR CHANGES IN ORIGINAL DESIGN WAS
THE CONSTRUCTION OF LOWER DOME WITH AN
OCULUS(INSPIRED BY PANTHEON IN ROME) , AND
COMPLETED WITH A CUPOLA, WHICH WAS INITIALLY TO BE
A HIGH SEMICIRCULAR DOME
 IN PERFECT HARMONY WITH LANDSCAPE, CERTAIN
DEVIATIONS IN SPITE OF IT`S SYMMETRY ALLOWED TO SUIT
SURROUNDINGS
 VARIATIONS IN FAÇADE, IN WIDTH OF STEPS, RETAINING
WALLS

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