01704nas a2200277   4500000000100000000000100001008004100002653002000043653001100063653001000074653001700084653001700101653001100118653001200129653001300141653001400154653001200168653001100180100002900191245013800220856009500358300000900453490000600462520094400468022001401412                                       d10aAndrea Palladio10aItalia10aItaly10aarchitecture10aarquitectura10aDesign10adiseño10afragment10afragmento10aMemoria10aMemory1 aGabriela Solis Rebolledo00aEl fragmento, la memoria y el disegno en I quattro libri dell’architettura de Andrea Palladio: tradición, invención e innovación  uhttp://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S2007-249X2018000200006&lang=es  a6-200 v93 aIn Cinquecento architectural theory, the creative process was based on the Italian principle of disegno. On this basis, the purpose of this study is to reflect on this conception in the theory, architecture, and drawings of Andrea Palladio, placing emphasis on the narrow link between tradition and innovation. There are few studies regarding this aspect concerning the humanist notion of disegno. Thus, it is not only necessary to carry out research in the framework of Palladian architectural theory, but also a study on the legacy of Antiquity in said architect as tangible and intangible heritage related to the transcendence of ideas and as conceptual reference for his thinking and architecture. With this, we will investigate whether the concept of disegno can be considered a paradigmatic model of the design process of form with respect to architectural invention, elective affinity, and the aesthetics of empathy in architecture.  a2007-249X