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 staircases represent one of the most impressive architectural expressions of the building. Many authors presented a great deal of research over the years on this matter intending to understand ...how they are designed and laid out. This paper is concerned with a particular structural type of masonry staircase, known as stair with open well or roman staircase. It aims to demonstrate that in masonry-vaulted staircases, the close relationship between the shape and static behavior is particularly evident, and geometry and construction are essential for their stability. The authors have proved this statement by studying Palazzo Di Majo's open-well staircase in Naples, whose main structure consists of tuff vaults. The first part of the article is substantially descriptive and presents an in-depth description of the geometric and architectural features of the stair. The second part explains all the aspects concerning the equilibrium of this kind of stairways, within Heyman's theory of masonry.
The first volume to be published was A, which appeared in 1969, but the first of the series of individual architects, Andrea Palladio, one of the jewels in the crown of this collection, which was ...also planned for 1969, to be catalogued by Howard Burns (b. 1939), never appeared and, as of late 2023, still has not seen the light of day.3 This, despite Burns having immediate access from his office in the Courtauld Institute of Art's then London location in Home House, at 20 Portman Square, to the RIBA Drawing Collection next door at 21 Portman Square. The seventeen bound volumes of drawings by Palladio and others in the Burlington-Devonshire collection (q.v.) are the subject of a separate volume, The Palladio volumes in the Burlington-Devonshire collection by Howard Burns and Lynda Fairbairn, in the RIBA Drawings Collection catalogue series.4 Certainly, Burns, Lynda Fairbairn (b. c.1948), and Bruce Boucher (b. 1948) had been busy in 1974 preparing the Arts Council exhibition of 1975, Andrea Palladio: the portico and the farmyard, mounted at the Hayward Gallery, London.5 Also, in 1973, Burns had published a short but important article on Palladio's drawings, so work on the cataloguing project seemed to be proceeding, advancing research published in the 1960s by Wolfgang Lotz (1912-81) and Heinz Spielmann(b. 1930).6 Burns had also written the entries on Palladio's drawings in the 1973 Vicenza exhibition catalogue which included a final statement, here translated as: To this effect I had brought with me, in addition to those of the Quattro Libri of Palladio, already printed, also all the original unpublished drawings of the Antichità di Roma in Palladio's own hand which by good luck passed into my hands with other writings from those of the last of the Albanese family, sculptors of good name, who had received them from Vincenzo Scamozzi, accredited architect, of whom they were heirs.11 Thus, a decade before their purchase by Burlington, Muttoni stated clearly that he had obtained them from the then beneficiary of Scamozzi's will, Francesco di Girolamo Scamozzi Albanese (fl. 1660-1710), to whom they had been passed down, architect to architect, as per Vincenzo's testamentary bequest (lascito) following his death in 1616. Wisely, given the then recent exhibition of 1973, a sensible 'work around' avoided mere repetition of that earlier initiative and instead focused on specific themes including: text, image, and city; Palladio and Verona; architecture and utopia; his second mentor, Alvise Cornaro (1484-1566); his bridges; documents; and Palladianism throughout the world.14 Moreover, in this last- mentioned exhibition, Cinzia Sicca (b. 1954) wrote all the entries for the section dedicated to Palladianism in England, based on her PhD research, including the entry on Inigo Jones's copy of Palladio's treatise held at Worcester College, Oxford, mentioning the significance of the early possession by Sir Henry Wotton (1568-1639) of Palladio drawings and that of the Teatro Olimpico drawing RIBA XIII/5r by Marcantonio.15 Likewise, in 1980, Margarita Azzi Visentini (b. 1944) published an article in which she discussed Wotton's early ownership of Palladio drawings.16 Here in translation are her perceptive observations, largely ignored and overlooked by English-language scholars:
Michael T. Coughlin theorizes the possibility of interpreting art and architectural form as an index for Logos in Early Modern Italy, while simultaneously proposing a theory about the origin of ...Freemasonry from a historical perspective.
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.
Based on many years of personal observation, Palladio's Children critically examines the role of the architect as a professional descendent of Palladio, and as an heir to his architectural legacy. ...Seven innovative and carefully crafted essays explore the widening ideological schism between today's architects whose core values, identity and education remain rooted in the Renaissance legacy of creating artful 'masterpieces', and the practical demands on a profession which acts within an evolving, ubiquitous and autonomous built environment or 'field'.
Clearly written yet expressing complex, evolving ideas, this extended argument opens a new forum of debate across design theory, professional practice and academic issues. Moving the subject on from a historical perspective, Habraken shows how architects are increasingly involved in the design of everyday buildings. This must lead to a reassessment of architects' identities, values and education, and the contribution of the architect in the shaping of the built environment.
Between 1994 and 1996, United Nations Educational, Scientific and Cultural Organization (UNESCO) placed 24 villas designed by Andrea Palladio on the World Heritage List. In this way, the universal ...value of Palladio's works has been recognised. The analysis of Palladio's villas provides evidence that in its thinking, the villa was a building deeply integrated in the surrounding landscape. Whereas in the past, a great deal of attention was devoted to preserving the Palladian villas, the Italian public authorities extended the prohibition on modifying the property to the landscape in only a small number of cases. The aim of the paper is to analyse the transformation of the landscape surrounding the Palladian villas inscribed in the World Heritage list from the beginning of the 19th century until today. Keywords: Palladian Landscape, World Heritage List, Land use policies Parole chiave: Paesaggio palladiano, World Heritage List, Politiche territoriali JEL: R11, R14, R52
In this article we argue against the widely held view that Lord Burlington's love for architecture was inspired by the writings of the third Earl of Shaftesbury, particularly his Letter Concerning ...Design. First, we seek to demonstrate that Burlington could not have been familiar with, or even aware of, Shaftesbury's Letter until long after the development of his interest in architecture. Secondly, we argue that Shaftesbury's true architectural heirs advanced an agenda that was distinct from, and even hostile to, Burlingtonian Palladianism; and that the supposed link between the Letter and Burlington has served to distract historians from this. We suggest, thirdly, that the importance assigned to the Letter by architectural historians has derived from a longstanding and hugely influential interpretation of the rise of Burlingtonian Palladianism, an interpretation undermined by much recent work by revisionist architectural historians but still prevalent. Finally, having argued against the link between Shaftesbury and Burlington, we posit an alternative source for Burlingtonian Palladianism.
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