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The small, extraordinary building can be considered one of the masterpieces, not just of the Palladio youth stage. While still modestly proposing a modest lexical availability, the architect builds on a typological sketch of the villa theme already with clarity, an organic and connected idea of ​​space “(L. Puppi, Andrea Palladio Opera completa, 1973).

“Palladio’s name for this singular work was uttered for the first time by Muttoni in the typographic index of his first volume (1740) and by Bertotti Scamozzi, shortly thereafter, with a complete illustration of the” countryside casino ” (1778) based on traditional information.
The extraordinary evidence of the highest work has led most modern scholars to accept their assignment from Dalla Pozza to Bread and Zevi, from Rosci to Ackerman to Barbieri to Hofer.
Consider Montecchio Precalcino the extraordinary consistency achieved in the agreement between the solution of the prospectus and the rear facade, through the median inner compartment, from which distributes the planimetric and altimetric correlation of each other moment and where the coordinates of the relationship are established now Meditated and controlled, with the site.
The bright salon balance makes “casino” one of Palladio’s most unique landmarks “(L. Puppi, op. Cit.).

“The back wall facing the fields, writes the Bread (1961), was centered on another sergiant, still recognizable today despite the next and unhappy insertion of a central balcony; It echoed the key motive, offered the view to the countryside to those who entered the salon, thus creating that ideal interpenetration between interior and exterior, which, in mutated rhythm, we find ourselves in other villas of the artist. ” “It deserves to be wise to the meaning of at least one characteristic typological element, achieved here in the context of a tension that the ignorance of the actual circumstances of the commission does not allow us to specify to the most secret implications, but the role of the building, which , For sure, originally had to give priority to the moment of the great sollification and of a humanistic function declaring: the adoption of the “classicist emblem” represented by the triangular pediment, present also in some reminded projects of the RIBA; And at Bertesina and Bagnolo. This is not an occasional quote, but an affirmation of a sign loaded with its specific value, which frees it from the original, and obviously semantic, within a new and original context: assuming a determined and typical Followed by an attitude towards the “devaluation of the a priori of the concept of” symbol “and deideologization” (M. Tafuri, 1966) in the perspective of the use of metaphor, regulated by its expressive, cultural and linguistic reasons”(L. Puppi, Cit.)

VILLA FORNI CERATO FOUNDATION

Established in November 2018, the Foundation aims to enhance the cultural and landscape heritage linked to Villa Forni Cerato (Montecchio Precalcino, Vicenza), designed and built by the architect Andrea Palladio and recognized since 1996 as a UNESCO World Heritage Site .

Would you like to support Villa Forni Cerato rebirth and the rediscovery of its artistic value?

CONTRIBUTE to the RESEARCH making a donation by bank transfer:

Account holder: Villa Forni Cerato Foundation

IBAN: IT 27D02008 60530 000105470617

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