Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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Palladio, Andrea (1508–1580)<br />
Sketch page for the Baths <strong>of</strong> Agippa, and Hadrian’s Villa, Tivoli, RIBA, VII/6R verso,<br />
Approx. 7 10 in., Ink on paper<br />
Palladio was born in Padua, near Venice, in 1508, as Andrea di Pietro dalla Gondola. His early exposure<br />
to architecture came both as a stonemason and a craftsman <strong>of</strong> ornamentation, working in the studio<br />
<strong>of</strong> Giovanni di Giacomo in Pedemuro. Later influenced <strong>by</strong> ideas <strong>of</strong> humanism, he studied the<br />
work <strong>of</strong> Vitruvius, Alberti, and other Renaissance treatises, writing his Quattro libri dell’architettura in<br />
1570. His meeting with Sanmicheli strengthened this knowledge <strong>of</strong> classical structures, and his later<br />
association with Barbaro and Vasari helped him establish his ideas based on rules <strong>of</strong> proportion.<br />
Palladio’s prestige in the architectural community was evident <strong>by</strong> his becoming a member <strong>of</strong> the<br />
Academy <strong>of</strong> Design in Florence in 1566. In 1570, after the death <strong>of</strong> Jacopo Sansovino, he became the<br />
architectural advisor to the Venetian Republic (Puppi, 1973; Wittkower, 1980; Murray, 1978).<br />
Andrea Palladio’s villas <strong>of</strong> the Veneto were based on harmonic proportions, symmetry, and the<br />
images <strong>of</strong> classical temple fronts. This antique monumentalism was influenced <strong>by</strong> his visits to Rome<br />
and <strong>by</strong> the work <strong>of</strong> Giulio Romano around the environs <strong>of</strong> Vincenza. In developing his architecture,<br />
he adapted the use <strong>of</strong> proportional ground plans and utilized a strong axis <strong>of</strong> penetration (front to<br />
rear) through his buildings. In his urban projects, the loggias reflected classical proportions, such as<br />
the Basilica in Vicenza (Palazzo della Ragione), where his new loggia was based on lessons <strong>of</strong> antiquity.<br />
This page <strong>of</strong> sketches (Figure 1.8) shows images crowded across the page, as if one idea led quickly<br />
to the next, the sketches bleeding into one another and overlapping. These sketches seem to be variations<br />
on a theme, as they all contain similar floor area and organization. Some sketches seem more<br />
complete, while others were rejected and abandoned early in the process <strong>of</strong> exploration. In many<br />
places on the page, the lines are adjusted (drawn over) to suggest a form <strong>of</strong> pentimento – regret, or the<br />
recalibration <strong>of</strong> an idea. This technique references the comparison and adjustment <strong>of</strong> what is seen on<br />
the paper with what is seen in the mind’s eye.<br />
Specifically, on this page are found mostly symmetrical building plans, very distinctive <strong>of</strong> Palladio’s<br />
architecture. As in many <strong>of</strong> his villas, there is a strong axis running through the center <strong>of</strong> the building.<br />
The columns are drawn very quickly and read as ovals and incomplete circles, showing the hurry<br />
<strong>of</strong> his thinking to sketch and visually evaluate the design. Included on the page are several elevations<br />
that seem to resemble a heavy column base, or altar, and a pediment/entablature detail. If indeed this<br />
sketch is meant to be a column base, it may be reminiscent <strong>of</strong> those heavy bases he used in the<br />
Palazzo Porto-Breganze, which are distinctive <strong>of</strong> his later, more sculptural, work.<br />
Palladio seems to be manipulating combinations <strong>of</strong> circles and squares into various alternatives,<br />
without concern for the beauty <strong>of</strong> the sketch. In contrast are the wavy lines <strong>of</strong> x’s that convey a<br />
slow, thoughtful movement <strong>of</strong> the pen. The technique and the possible purpose <strong>of</strong> these marks suggest<br />
that these x’s were added later, at a time when Palladio was more intently evaluating the design,<br />
or when he began to think three-dimensionally.<br />
Although decisively symmetrical, these building plans are each slightly warped and <strong>of</strong>f-center.<br />
This reinforces the idea that the page <strong>of</strong> sketches was drawn in a state <strong>of</strong> concentration and, consequently,<br />
reveals a thinking process. It was not necessary for Palladio to view the plans square or lined<br />
up, it was more important to see the proportional relationships as he was designing. He was concerned<br />
with the relationships between these spaces and how they related to the whole.<br />
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