Examples Of Duality In Palazzo Chiercati

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Duality in Palazzo Chiercati Palladio explores duality in Palazzo Chiericati through typology, structure, and proportion. Palazzo Chiericati’s site has a lot to do with the design of the building. The site of the Palazzo Chiercati is in central Vicenza, Italy. The building “was erected on a very shallow site” and has a long frontage lining an open public space. Beyond the canal there was more rural landscape compared to Vicenza’s streets. Palladio did not let the opportunity of designing the building regarding this unique site. To emphasize the difference in landscape or built environment, Palladio makes use of a synthesis between two stark typologies. Palazzo Chiercati is the combination of both the palazzo and the villa. The building rather than trying to create an ideal version of either typology focuses more on making combination of these two typologies meaningful and understandable. Rather than try to fit a multitude of components from each typology into the Palazzo, Palladio focuses on key distinguishing parts of the typologies. For the palazzo aspect of the building, he makes sure to include a courtyard. While the courtyard is narrow and not surrounded by the building on all four sides, the opposite of the paradigm for palazzos, Palazzo Farnese, the courtyard distinguishes itself by being the closest aspect of the building to the urban environment surrounding it. To emulate the typology of villa, Palladio makes use of the loggia and portico. Because the building was one of Palladio’s “most compressed”, Palladio was not able to make a full and extruding portico like many villas feature. There is still that hint of a portico, but the extrusion from the colonnade of the loggias is very miniscule. However, while the portico may be short and compressed, it is still a feature of the façade meaning Palladio wanted it to be understood as a portico from a villa. This building’s construction began after Palladio’s infamous Villa Rotunda. While Villa Rotunda had porticos on all four sides, Palladio reduces the number to one in Palazzo Chiercati to draw attention to short procession needed to travel from the portico to the main space. This “unusual adjacency of the portico and the central space with no

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