Through the eyes of ornamentation, aesthetic, techniques, this research investigates the contrasting architectural philosophies of Andrea Palladio ( 1508 -1580 ) and Adolf Loos ( 1870 - 1933 ) . Even though they were 4 centuries apart they builders represent opposing viewpoints that had a significant impact on how each time period developed. Loos who despised ornamentation at the start of the modernist movement, is known for saying that ornament is crime. Palladio\u27s Italian Renaissance development of Classical ornamentation was in complete contrast to Loos\u27s practical and stern aesthetics. Palladio used elaborate carved elements, columns, and pediments into his designs. Influenced extensively from the architectural style of the ancient Greek and Roman cultures. Stylistically Loos started a new minimalist way which coincided with his Raumplan concept of spatial planning, while Palladio revived and reinterpreted Classical orders and proportions. Loose dropped non-essential elements, preferring to use simple cubic forms and industrial materials like steel and glass. Inversely Palladio\u27s famous villas and churches gave the essence of elegance and refinement with their symmetry, correct proportions, and traditional masonry construction. Although the two architects had a philosophical difference both were admirers of the technological advances that broadened the scope of design. Loos applied construction techniques like reinforced concrete, whereas Palladio used the sophisticated stonecutting and structural methods that produced domes, vaulting and monumental scales that were impossible before ornamentation Loose and Palladio had opposing views. Loos aimed to rid architecture of excessive embellishments in order to place function at the forefront. Palladio on the other hand added decorative elements to achieve a classical feeling of grandeur and beauty. This comparison demonstrates the variety of ambitions that different historical periods have for architecture.This analysis reveals the diverging philosophies of ornamentation, styles, and integration of the contemporary methods as the movements of modernism and Renaissance go through their processes
