HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

Andrea Palladio (30 November 1508 – 19

August 1580) was an Italian architect active in

the Republic of Venice. Palladio, influenced

by Roman and Greek architecture, primarily

by Vitruvius, is widely considered to be the

most influential individual in the history of

architecture. All of his buildings are located

in what was the Venetian Republic, but his

teachings, summarized in the architectural

treatise, The Four Books of Architecture,

gained him wide recognition. The city

of Vicenza and the Palladian Villas of the

Veneto are UNESCO World Heritage Sites.

ANDREA PALLADIO

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

•Apprenticed to a stonecutter when he was 13 years old

•Became an assistant in a masonry workshop in Vicenza

•Perhaps the key moment that sparked Palladio's career

was being employed by the Humanist poet and

scholar, Gian Giorgio Trissino, from 1538 to 1539.

•While Trissino was reconstructing the Villa Cricoli, he took

interest in Palladio's work. Trissino was heavily influenced by

the studies of Vitruvius, who later influenced Palladio's own

ideals and attitudes toward classical architecture.

•As the leading intellectual in Vicenza, Trissino stimulated the

young man to appreciate the arts, sciences, and Classical

literature and he granted him the opportunity to study

Ancient architecture in Rome.

PALLADIO'S EARLY TRAINING:

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

Andrea Palladio is known to be one of the most influential architects in Western architecture. His

architectural works have "been valued for centuries as the quintessence of High Renaissance calm

and harmony". He designed many palaces, villas, and churches, but Palladio's reputation, initially, and

after his death, has been founded on his skill as a designer of villas.

INSPIRATION :

Palladio's work was strongly based on the symmetry, perspective and values of the formal classical

temple architecture of the Ancient Greeks and Romans. From the 17th century Palladio's

interpretation of this classical architecture was adapted as the style known as Palladianism. It

continued to develop until the end of the 18th century.

"True Palladianism" in Villa Godi by Palladio from the Quattro Libri dell'Architettura

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

PALLADIAN ARCHITECTURE From the 17th century Palladio's

interpretation of this classical architecture

was adapted as the style known as

Palladianism. It continued to develop until

the end of the 18th century. The style

continued to be popular in Europe

throughout the 19th and early 20th

centuries, where it was frequently

employed in the design of public and

municipal buildings

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

CERTAIN ELEMENTS OF PALLADIAN ARCHITECTURE

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PALLADIAN WINDOW

The Palladian, Serlian, or Venetian window features largely in Palladio's work

and is almost a trademark of his early career. It consists of a central light with

semicircular arch over, carried on an impost consisting of a small entablature,

and enclosing two other lights, one on each side, are pilasters.

SEMICIRCULAR ARCH

ENTABLATURE

PILASTERS

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Although his buildings are all in a relatively small part of Italy, Palladio's

influence was far-reaching. One factor in the spread of his influence

was the publication in 1570 of his architectural treatise, I Quattro Libri

dell'Architettura (The Four Books of Architecture), which set out rules

others could follow.

HIS INFLUENCE

• The first book includes studies of

decorative styles, classical orders, and

materials.

• The second book included Palladio's

town and country house designs and

classical reconstructions.

• The third book has bridge and basilica

designs, city planning designs, and

classical halls.

• The fourth book included information

on the reconstruction of ancient Roman temples.

In his book he has woodcut plan

and elevation drawings for villas

he designed, drawings for

important temples from antiquity,

and lays out sets of rules covering

nine areas: walls, doors, ceilings,

stairs, columns, windows, frames,

roof and details.

The rules cover both construction

and design. The latter dealt with

geometry, style and proportion.

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

CHISWIC-HOUSE-PLAN

DRAWINGS FROM

PALLADIO’S

FOUR BOOKS OF

ARCHITECTURE

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• Palladio's architecture was not dependent on expensive materials, which must have

been an advantage to his more financially pressed clients.

• Many of his buildings are of brick covered with stucco. Stuccoed brickwork was always

used in his villa designs in order to portray his interpretations of the Roman villa typology.

• In the later part of his career, Palladio was chosen by powerful members of Venetian

society for numerous important commissions.

• His success as an architect is based not only on the beauty of his work, but also for its

harmony with the culture of his time.

• His success and influence came from the integration of extraordinary aesthetic quality

with expressive characteristics that resonated with his client's social aspirations.

• His buildings served to communicate, visually, their place in the social order of their

culture.

• This 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.

MATERIAL

HARMONY WITH CULTURE

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Important Buildings by Palladio:

By the 1540s, Palladio was using classical principles to design a series of country villas and urban

palaces for the nobility of Vicenza. One of his most famous is Villa Capra , also known as the

Rotunda, which was modeled after the Roman Pantheon. Palladio also designed the Basilica

Palladiana in Vicenza and Villa Foscari (or La Malcontenta) near Venice. In the 1560s he began

work on religious buildings in Venice. The great basilica San Giorgio Maggiore is one of Palladio's

most elaborate works.

Palazzo Chiericati Basilica Palladiana Villa Foscari

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1. VILLA CAPRA, OR VILLA ROTUNDA VICENZA, ITALY 1566-1571

2. VILLA FOSCARI MALCONTENTA, ITALY 1566-1571

3. VILLA TRISSINO VICENZA, ITALY 1566-1571

HOUSE

HOUSE

HOUSE

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1. PALAZZO CHIERICATI VICENZA, ITALY 1550-1580

2. PALAZZO CHIERICATI VICENZA, ITALY 1550-1580

PALAZZO

PALAZZO

3. DOGE'S PALACE VICENZA, ITALY

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1. REDENTORE CHURCH VICENZA, ITALY 1576-15891

2. SAN GIORGIO MAGGIORE VICENZA, ITALY 1576-1591

3. TEATRO OLIMPICO VICENZA, ITALY 1584

CHURCH

CHURCH

THEATER

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THE VILLAS

The term villa was used to describe a country house. Often rich families in

the Veneto also had a house in town called palazzo.

By 1550, Palladio had produced a whole group of villas, whose scale and decoration can

be seen as closely matching the wealth and social standing of the owners:

The powerful and very rich Pisani, bankers and Venetian patricians, had huge vaults and

a loggia façade realized with stone piers and rusticated Doric pilasters;

The wealthy minor noble and salt-tax farmer Taddeo Gazzotto in his villa at Bertesina, had

pilasters executed in brick, though the capitals and bases were carved in stone

Biagio Saraceno at Finale had a loggia with three arched bays, but without any

architectural order.

In the villa Saraceno Palladio was able to give presence and dignity to an exterior simply

by the placing and orchestration of windows, pediments, loggia arcades

His less wealthy patrons must have appreciated the possibility of being able to enjoy

impressive buildings without having to spend much on stone and stone carving.

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VILLA ROTONDA

Situated on the top of a hill just outside the town of

Vicenza, the Villa Capra is called the Villa Rotonda,

because of its completely symmetrical plan with a

central circular hall. The building has a square plan

with loggias on all four sides, which connect to

terraces and the landscape.

The building is rotated 45 degrees to south on the

hilltop, enabling all rooms to receive some sunshine.

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THE VILLAS

Villa Emo in Fanzolo

Villa Tempietto Barbaro Maser

Villa godi valmarana

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THE PALAZZOS Palazzos are huge urban palaces.

Palazzo Porto Palazzo Thiene Palazzo Thiene

Palazzo delCapitanio The Palazzo Chiericati

Palazzo Dalla Torre

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SAN GIORGIO MAGGIORE San Giorgio Maggiore is a 16th-century Benedictine church on the island of the same name in Venice,

northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica

in the classical renaissance style and its brilliant white marble gleams above the blue water of the lagoon. It’s gleaming white facade faces across the basin of San Marco to the great piazza.

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

Palladio arrived in Venice in 1560, when the refectory of the monastery

was being rebuilt. He made great improvements to this and in 1565,

was asked to prepare a model for a new church

The church, designed by Andrea Palladio (1566-83), was finished in

1611, after his death with the help of many big name architects of the

time (1400s to 1600s) including Giovanni and Andrea Buora and

Baldassare Longhena.

Built as part of the

Benedictine monastery on

the island, the church's

facade is scaled to

present a public face to

the town of Venice. It

dominates and partially

obscures the brick body of

the church behind it, while

it reflects the interior

space of the nave and its

side chapels.

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

The central temple front is articulated with four three-quarter

Composite columns raised on high pedestals, which frame the

central door. In the back plane, the lower body of the church is

articulated by a smaller order of pilasters, supporting two lower,

half pediments on either side. The cornice line continues through

the central body, interlocking the two forms. The deep relief of

these elements, combined with the sculptural detail of capitals,

cornices, niches and figures, makes a great play of light and

dark in the sunlight.

THE FACADE

The white façade represents Palladio's

solution to the difficulty of adapting a

classical temple facade to the form of

the Christian church, with its high nave

and low side aisles, which had always

been a problem.

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The interior plan combines elements of

longitudinal and centralized buildings, a

resolution responding to the Renaissance

"ideal" of the centralized plan and symbolic

cross form and both the medieval tradition

of nave churches and the requirements of

the Counter-reformation for functional

churches with ample naves for a large

congregations as well as side chapels big

enough for celebrating the sacraments.

The interior of the church is very bright with

massive engaged columns and pilasters on

undecorated, white-surfaced walls. The

interior combines a long basilican nave with

a cruciform plan with transepts.

PLAN

SECTION

THE INTERIORS

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Interior: The nave, looking east towards the high altar

Thermal, clerestory windows

bring light to the side chapels

and to the nave, and the

interior glows with a warm light,

reflected by the painted

stucco surfaces (over brick) of

the walls and vaults.

THE INTERIORS

The interior ceiling is a longitudinal barrel vault leading to a crossing, framed by grouped columns and arches, which support a dome lit with a lantern.

Cross vaults above side aisles and a transept with apsidal chapels intersect the nave, and beyond the crossing is a presbytery and a monk's choir.

The dome has

a diameter of

40 feet.

SECTION

In contrast, the architectural

detail of cut stone columns

and pilasters, capitals, bases,

continuous entablatures,

framed arches and railings,

darkened with age, articulate

the rhythmic sequence of

spaces.

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The Last Supper

The Fall of Manna

Light helps illuminate the works of art decorating the

spare interior of white Istrian stone.

Built by Palladio, the church is decorated by

Tintoretto and Bassano with beautiful paintings.

The works include the long, dark Adoration of the

Shepherds by Jacopo Bassano and fine Tintoretto

canvases, including Shower of Manna and a dark

and brooding The Last Supper .

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View of Venice from the campanile (bell tower)

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TEATRO OLIMPICO THE TEATRO OLIMPICO IS A THEATRE IN VICENZA, NORTHERN ITALY, CONSTRUCTED IN 1580-1585. THE TEATRO OLIMPICO WAS DESIGNED FOR THE VICENZA ACCADEMIA OLIMPICA TO STAGE THEATRICALPERFORMANCES. MODELED BY PALLADIO AFTER BOTH HIS STUDIES OF SEVERAL ANCIENT THEATERS AND HIS OWN ILLUSTRATIONS OF CLASSICAL THEATER DESIGN. THE THEATRE WAS THE FINAL DESIGN BY THE ITALIAN RENAISSANCE ARCHITECT ANDREA PALLADIO AND WAS NOT COMPLETED UNTIL AFTER HIS DEATH. ASIDE FROM A SINGLE SKETCH OF THE SCAENAE FRONS, PALLADIO LEFT NO PLANS AS TO WHAT KIND OF SCENERY SHOULD BE USED ONSTAGE. BUT THE SKETCH OF THE PROPOSED SCAENAE FRONS FOR THE TEATRO OLIMPICO SHOWS NO SUCH

STREET SCENES; THE SPACE BEHIND THE CENTRAL ARCHWAY AND THE DOORS TO EACH SIDE IS BLANK.

THIS LAND WAS ACQUIRED IN 1582, AFTER SCAMOZZI HAD TAKEN CHARGE OF THE PROJECT. THE ACADEMY'S PETITION TO THE CITY GOVERNMENT FOR THE ADDITIONAL LAND ANTICIPATED THAT IF

ACQUIRED, THE SPACE WOULD BE USED TO CREATE PERSPECTIVE SCENERY; IT EXPLAINS THAT THE

EXTRA LAND WOULD BE USED TO BUILD A THEATRE "ALONG THE LINES LAID OUT BY OUR COLLEAGUE

PALLADIO, WHO HAS DESIGNED IT TO PERMIT PERSPECTIVE VIEWS.

THEREFORE, PALLADIO CAN BE GIVEN CREDIT FOR HAVING INSPIRED THE REMARKABLE PERSPECTIVES

WHICH ARE VISIBLE TO THE AUDIENCE THROUGH THE CENTRAL ARCHWAY OF THE SCAENAE FRONS

(ALSO KNOWN AS THE "PORTA REGGIA") AND ALSO THROUGH THE SMALLER SIDE OPENINGS. BUT IT IS

ALSO APPROPRIATE TO REGARD SCAMOZZI AS THE TECHNICAL GENIUS BEHIND THEIR REMARKABLY

SUCCESSFUL EXECUTION.

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INSIDE AN EXTERIOR BRICK BOX, THE ELABORATE WOODEN THEATER INTERIOR IS A HALF CIRCLE OF STEEP TIERS OF SEATS (WOOD COVERED BENCHES) FACING A RECTANGULAR STAGE. A WOODEN COLONNADE WITH CORNICE AND FIGURES ABOVE CIRCLES THE TOP OF THE SEATS. THE CEILING PLANE IS UNDIFFERENTIATED AND WAS LATER PAINTED BLUE, SUGGESTING AN OPEN SKY ABOVE THE THEATER. THE WALLS AND CEILING OF THE PROSCENIUM ARE ELABORATELY ARTICULATED WITH ARCHITECTURAL DETAILS AND STATUES, MADE OF WOOD AND PLASTER. A CENTRAL ARCHED OPENING DOMINATES THE BACK WALL, FLANKED BY TWO SMALLER DOORWAYS. THROUGH THESE OPENINGS, ELABORATE STAGE SETS OF STREETS ANGLE BACKSTAGE, A TRIAD THROUGH THE CENTRAL OPENING AND SINGLE STREETS THROUGH EACH SIDE. THESE SETS, DESIGNED LATER BY SCAMOZZI, USE TECHNIQUES OF TILTING THE FLOORS AND CONTRACTING THE ANGLE BETWEEN THE STREET WALLS AND THE HEIGHTS OF THEIR BUILDING FACADES TO MAKE FORESHORTENED STREETS IN PERSPECTIVE.

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HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

SCAMOZZI'S STAGE SET WAS THE FIRST PRACTICAL INTRODUCTION OF PERSPECTIVE VIEWS INTO RENAISSANCE THEATRE. THE SCENERY CONSISTS OF SEVEN HALLWAYS DECORATED TO CREATE THE ILLUSION OF LOOKING DOWN THE STREETS OF A CITY FROM CLASSICAL ANTIQUITY. A SET OF SEVEN EXTRAORDINARILY REALISTIC YET FALSE PERSPECTIVES PROVIDE THE ILLUSION OF LONG STREET VIEWS, WHILE ACTUALLY THE SETS RECEDE ONLY A FEW METERS. THE WAY IN WHICH SEATS IN ALL PARTS OF THE THEATRE WERE PROVIDED WITH AT LEAST ONE PERSPECTIVE VIEW . IT CAN BE SEEN BY OBSERVING THE THEATRE FLOORPLAN AND FOLLOWING THE SIGHT LINES OF AUDIENCE MEMBERS IN DIFFERENT PARTS OF THE THEATRE.

THESE OIL LAMPS, DESIGNED BY SCAMOZZI, WERE USED TO CREATE INTERIOR LIGHTING FOR THE "HOUSES" ALONG THE IMAGINARY STREETS, FOR THE VERY FIRST PRODUCTION.

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

HISTORY OF ARCHITECTURE -III B.ARCH III, SEM V

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