NEW HAVEN, CT.-
The 201213 season at the Yale School of Architecture Gallery
opens with Palladio Virtuel. The exhibition presents a groundbreaking new analysis of the work of Renaissance architect Andrea Palladio by Peter Eisenman, renowned New York architect and Charles Gwathmey Professor in Practice at Yale. It represents the culmination of ten years of study of Palladios villas by Eisenman, adding an important contribution to the sixteenth-century masters already robust legacy.
Palladio Virtuel has been conceived and designed by Eisenman and Yale School of Architecture critic Matthew Roman. Focusing on twenty villas, it proposes a reading of the buildings that undermines the traditional view of Palladios architecture as founded on ideal forms.
The exhibition remains on view at the School of Architecture Gallery through October 27, 2012.
Palladio Virtuel asks what might still be learned from an architect whose life and work has been exhaustively analyzed by both architects and historians. In the 1960s and`70s, Rudolf Wittkowers typological research on Palladio and Colin Rowes linking of modern architecture to the Renaissance through a comparison of Le Corbusier and Palladio opened up new areas for research and design to architects. While inspired by these proposalsEisenman first visited Palladios villas with Rowe in 1961Palladio Virtuel introduces a fundamentally different way of understanding the work. Rather than seeing Palladio as a Mannerist, deviating from a Renaissance ideal, Eisenman finds complex, indeterminate internal relationships in Palladios work. This discovery is presented in the exhibition in three sections: The Classical Villas: The Impending Crisis of Synthesis; The Barchessa Projects: Extensions into the Landscape; and The Virtual Villa: The Dissipation of the Villa Type.
Each of the twenty buildings examined in the exhibition is represented by a diagrammatic model in which the traditional architectural componentsthe portico, circulation, and central figured spacesare coded by color. Going beyond typology, proportion, and history, Eisenmans models, along with 100-plus drawings, reveal adjacencies, superpositions, and overlays among these components, with no foundation in ideal symmetry or proportion. Indeed, in contrast to inherited ideas of harmonic proportions, Eisenmans radical analysis displaces any notion of a part-to-whole stability or ideal in Palladios work and proposes that his villa forms dissipated over the course of his career, their components essentially becoming unrecognizable.
In Palladio Virtuel, Palladios legacy is read as a confrontation with certain persistent formal problems. This is also seen in his treatise I Quattro Libri (The Four Books), for which, at the end of his life, Palladio redrew his buildings as he wanted them to beas virtual projects. But he was also, in a sense, redrawing the very boundaries of the discipline at the time by proposing a series of radically different villa plans, each an exercise in double and triple readings. The layering of building, drawing, and text in The Four Books renders Palladios architectural project conceptually incomplete.