After completing a Master's degree in Cultural Heritage Management and Communication at the Scuola Normale Superiore, Pisa, Ilaria Abbondandolo began working at the Palladio Study Centre and Museum in Vicenza, where she currently serves as senior curator.
She is the author of Le teorie tradizionaliste nell'architettura contemporanea (with G. Pigafetta; translated into French and Spanish, Laterza, 1997; Mardaga, 1999; and Celeste, 2002), as well as other studies on twentieth-century architects, particularly Carlo Scarpa and Giuseppe Terragni. She curated the MAXXI, Rome exhibition Carlo Scarpa e la forma delle parole (2011) and published a book of the same title (Marsilio, 2011). Together with E. Michelato, she edited the interview collection Voci su Carlo Scarpa (Marsilio, 2015).
Her current research focuses on architectural education during childhood and adolescence. She has addressed this topic in Architettura a scuola (Carocci, 2024) and is also researching the accessibility of architectural heritage for people with different sensory or cognitive abilities. She founded the educational programmes at the Palladio Museum in 2014.

Battilotti taught History of Architecture at the University of Udine until 2023. Her research focuses primarily on Andrea Palladio, the urban and territorial history of sixteenth-century Vicenza, and the Venetian villas. Her publications include Vicenza al tempo di Andrea Palladio attraverso i libri dell’estimo del 1563-1564 (1980), Le ville di Palladio (1990), the updated edition of Lionello Puppi’s monograph Andrea Palladio (1999), the edited volume on the villas of the province of Vicenza for the Istituto Regionale Ville Venete (2005), and Le mura di Vicenza nel Cinquecento. Cronaca di un fallimento (2020). Since 2003, she has been a member of the Academic Committee of the Centro Internazionale di Studi di Architettura Andrea Palladio and is also a member of the Accademia Olimpica of Vicenza.

Guido Beltramini has been director of the Centro Internazionale di Studi di Architettura (CISAAP) since 1991. He was a contract professor at the University of Ferrara from 1994 to 2002 and has been a visiting professor at the Harvard University Graduate School of Design since 2015. His main interest is the history of Renaissance architecture, with a special focus on Palladio, Venetian architecture, the art of war, and the study of the Antique.

From 2003 to 2025, he was Professor of Art History at the University of Basel. He directed the German Center for Art History in Paris from 2009 to 2014. His research and publications focus, among other topics, on Neapolitan architecture of the fifteenth century, Italian Renaissance art, and German Neoclassical art. In 1983, he published the first German edition of Palladio’s Quattro Libri dell’architettura and has since worked extensively on the Vicentine architect, with a particular focus on the Teatro Olimpico and the Quattro Libri. Recent books include Il corpo dell’artista. La traccia nascosta della vita nell’arte, Turin 2023; Benvenuto Cellini and the Embodiment of the Modern Artist, Reaktion Books, London 2025.

Paul Davies is Professor Emeritus of History of Architecture at the University of Reading. His research focuses primarily on architecture in Italy 1350-1650. Areas of particular interest include centrally-planned churches and the architectural response to miracles; architecture in Venice and the Veneto; and Italian Renaissance architectural drawings.
In addition to many papers, he has written Michele Sanmicheli (Electa, 2004); The Paper Museum of Cassiano Dal Pozzo. A.X. Renaissance and later architecture and ornament (Royal Collection, 2013); Codex Coner: Architecture and Antiquarianism in Early Sixteenth-Century Rome (Sir John Soane’s Museum, 2024) all three with D. Hemsoll. He has also edited Architecture and Pilgrimage 1000-1500: the Southern Mediterranean and Beyond (Ashgate, 2013) with D. Howard and W. Pullan. His latest co-edited work is Templum Pacis: Storia della Chiesa di Santa Maria Della Pace a Roma tra Quattrocento e Ottocento (Special issue of Bollettino d’Arte, 2024) with M. Beltramini, A. Roca De Amicis and G. Spoltore.

Gianmario Guidarelli is Associate Professor of Architectural History at the University of Padua (DICEA) and Adjunct Professor at the Theological Faculty of Triveneto. He coordinates the projects Chiese di Venezia. Nuove prospettive di ricerca, Armonie Composte. Ciclo di seminari sul paesaggio monastico (with Elena Svalduz), and La città medievale. La città dei frati. Medieval city. City of the friars (with Silvia Beltramo). He is the Principal Investigator of the PRIN 2022 research project CoenoBI(u)M. Art and Architecture of the Cassinese Benedictine Congregation (15th–18th century): Strategies for Digital and Spatial Analysis through BIM Models. He is a resident member and Scientific Board member of the Ateneo Veneto di Scienze, Lettere ed Arti. Since 2024, he has served as the Editor-in-Chief of Ateneo Veneto (classified in band A for sector E 8). He has published monographs and articles in international journals on the history of medieval and Renaissance architecture, with particular focus on Venice. His current research focuses on religious architecture in the Renaissance and on the theme of the monastic landscape in Italian Humanism.

Johanna Heinrichs is an Associate Professor and Director of International Studies at the University of Kentucky College of Design. Her research focuses on villa culture, domestic architecture, and issues of urbanism and landscape in 16th-century Venice and the Veneto. She is the author of Villa and Palace in the Venetian Renaissance: The Palladian House between Country and City, published in 2025 by Cambridge University Press.

David Hemsoll is a specialist in Renaissance art and architecture, especially of Rome, Florence and Venice, and he has written extensively in this area. He also has a particular interest in architectural theory and the methodology of architectural design. He has written Michele Sanmicheli (Electa, 2004); The Paper Museum of Cassiano Dal Pozzo. A.X. Renaissance and later architecture and ornament (Royal Collection, 2013); Codex Coner: Architecture and Antiquarianism in Early Sixteenth-Century Rome (Sir John Soane’s Museum, 2024) all three with P. Davies. He is also the author of Emulating Antiquity: Renaissance buildings from Brunelleschi to Michelangelo (Yale University Press, 2019) and of many articles including ‘Envisaging Michelangelo's Porta Pia’ (Annali di architettura, 25, 2025), ‘Drawing on the past: Palladio, his precursors and knowledge of ancient architecture c. 1550’ (Journal of the Warburg and Courtauld Institutes, 82, 2020) and ‘Palladio and the “Secrets” of Architectural Proportion’ (Journal of the Society of Architectural Historians, vol. 84, no. 1).

Deborah Howard is Professor Emerita of Architectural History at the University of Cambridge, where she is a Fellow of St John’s College. She is also a Fellow of the British Academy. She specialises in the art and architecture of Venice and the Veneto, and her numerous publications include Jacopo Sansovino (1975, 1987); The Architectural History of Venice (1980, rev. 2002); Venice & the East (2000); Architecture and Music in Renaissance Venice (2009); Venice Disputed (2011) and The Sacred Home in Renaissance Italy (with M. Laven and A. Brundin, 2018). She is currently engaged in a research project on the proto-industrial architecture of the Veneto in the sixteenth and seventeenth centuries.

After graduating in art history/architecture, Federico Marcomini obtained his Ph.D. in the history of architecture and the city from the University of Florence in 2024. His research has focused on the reuse of classical language and Palladianism in hyper-contemporary architecture, exploring this phenomenon through case studies in the Balkans and former Soviet Asia. He is currently collaborating with the Centro Internazionale di Studi di Architettura Andrea Palladio, where he has deepened and broadened his research interests to include the cultural history of Italian architecture and Palladian historiography. He has presented the results of his work in scientific publications and international conferences.

Francesco Marcorin graduated in architecture and received his PhD from IUAV in 2014 with a dissertation on Michele Sanmicheli. After a collaboration with the Archivio di Stato di Verona, in 2017 he was Ayesha Bulchandani Curatorial Intern at the Frick Collection in New York and, in the autumn of the same year, Weinberg Fellow at Columbia University. In the following two years he taught at Union College (Florence) and at ENSTP in Yaoundé. During the same period, he was involved in the international project Thinking 3D, coordinated by the University of St Andrews, Magdalen College, and the Bodleian Libraries, Oxford. His research spans several disciplines, ranging from architectural history and the history of collecting to the history of music and visual representation, with particular attention to the reception of antiquity in Renaissance culture and to drawing as a means of knowledge. His main publications focus on Michele Sanmicheli, Andrea Palladio, Antonio da Sangallo the Younger, Giovanni Maria Falconetto, and Giovanni Caroto. He has been working at the Centro Internazionale di Studi di Architettura Andrea Palladio since 2019, where, since 2023, has served as Curator of the Palladio Museum.

Fernando Marías is Professor Emeritus at the Universidad Autónoma de Madrid. His research focuses on the theory and practice of art and architecture in Spain and Italy from the 15th to the 18th century. He has published books and articles on modern Spanish architecture and masters of painting such as El Greco, Velázquez and Bosch, and written about architects including Bernini. He has edited the works of Diego de Sagredo and Fray Juan Andrés Ricci, as well as the choreographies of Anton van de Wyngaerde and Pedro Texeira. His most recent publications include Antes y después de Antonio Palomino: historiografía artística e identidad nacional (with J. Riello, 2022) and La Colegiata de Torrijos: 500 años de firme piedra (with M. Cera, 2019) and El Greco, il miracolo della naturalezza. Il pensiero artistico di El Greco attraverso le note a margine a Vitruvio e Vasari (with J. Riello, 2017); El Griego de Toledo; Painter of the Visible and the Invisible (exhibition catalogue, 2014); El Greco, historia de un pintor extravagante (2013); and El Greco's Visual Poetics (exhibition catalogue, 2012). He is a curator of international exhibitions and a member of the Real Academia de la Historia in Madrid, as well as being president of the Scientific Council of the CISA Andrea Palladio.

Laura Moretti took her undergraduate degree in architecture and also holds a professional performance diploma in violoncello. She has a PhD in architectural history, and has been working for several years on the relationship between architecture and music. She has held prestigious post-doctoral and research positions (University of Cambridge; Worcester College, University of Oxford; Villa I Tatti). In 2005-08 she participated in the project 'Architecture and Music in Renaissance Venice' led by Professor Deborah Howard at the University of Cambridge. In 2014-16 she has been the co-ordinator of the International Network ‘Daniele Barbaro (1514-70): In and Beyond the Text’, funded by the Leverhulme Trust. In 2016-20 she co-directed the research and impact project ‘Thinking 3D’. In 2021-22 she worked on the project 'Object history and museum display. The adventurous life of the Berlin "Adorante"', thanks to a Leverhulme Trust International Fellowship. She is the author of Dagli Incurabili alla Pietà. Le chiese degli Ospedali Grandi veneziani tra architettura e musica (1522-1790) and In the House of the Muses: Collection, Display, and Performance in the Veronese Palace of Mario Bevilacqua (1536-93).

Carlotta Moro is a PhD Student in the History of Art at the University of Cambridge. Her research is the circulation of hybrid ornamental motifs from drawings and prints into architecture and material culture in the Italian Renaissance, with particular emphasis on processes of invention, material translation, and cultural meaning. She is the author of most of the catalogue entries in Corpi moderni. La costruzione del corpo nella Venezia del Rinascimento, edited by G. Beltramini, F. Borgo and G. Manieri Elia (Marsilio, 2025).

Cara Rachele teaches Renaissance architectural history and theory, as well as further courses in architectural representation and textual analysis, at the chair of Prof. Dr. Maarten Delbeke at the Institut for the History and Theory of Architecture (gta), ETH Zurich.
Cara is a specialist in early modern Italian art and architecture, with a secondary interest in the nineteenth century. Her research focuses on representation and works on paper – disegno and drawing practice more broadly – and the development of architectural practice and education. Her current project investigates the emergence of the artist-architect in early sixteenth-century Italy through an exploration of the development of drawing practice in Florence and Rome. It sheds new light on the importance of drawing for architecture, as well as disegno as a unifying theoretical framework for artistic creation. In the early stages is a second project, provisionally titled “Fear of Falling: Unstable Architectures in Early Modern Italy”, which investigates structural solidity and anxiety of collapse in early modern artistic discourse.
Cara has been a fellow of the Villa I Tatti, The Harvard University Center for Italian Renaissance Studies (Florence), the Drawing Institute of the Morgan Library & Museum (New York), the Kunsthistorisches Institut in Florenz – Max Planck Institut, and the Gabinetto dei Disegni e delle Stampe of the Uffizi Museums (Florence), among others. She holds a BA in art history and architectural practice from Columbia University and a PhD in art and architectural history from Harvard University.

Marlene Schwemer is a PhD candidate in History of Art at Yale. She holds a BA and MA in History of Art and Architecture as well as a BA in Romance Studies (Italian and Portuguese) from the University of Vienna, where she also spent two semesters abroad at the Università Ca’ Foscari in Venice and the Università Roma Tre in Rome. Her research investigates the intellectual intersections between the study of antiquity and architectural practices in sixteenth-century Italy, highlighting the role of drawing in design processes. Through an interdisciplinary approach, she explores how representations of ancient and all’antica architecture blend reality and fiction in shaping historical narratives and antiquarian knowledge. In this context, she has developed a particular interest in the work of Andrea Palladio, reflected in her recent essay forthcoming in Annali di architettura, which examines the relationship between his drawings of antiquity and his design for the Villa Pisani at Montagnana. Marlene’s research has been supported by fellowships from the German Center for Venetian Studies, the International Center for Studies on Andrea Palladio Architecture, and the Stiftung Bibliothek Werner Oechslin in Switzerland.

Elena Svalduz is Associate Professor of History of Architecture in the Department of Cultural Heritage at the University of Padua. Her principal interests are the history of architecture, the history of the city in the modern age, and the historical landscape. A member of both the AISU Board of Directors and the Steering Committee of Visualizing Cities since 2017, with Gianmario Guidarelli she jointly curates the "Armonie composte" project and publishing series on the monastic landscape (www.armoniecomposte.org).

Vitale Zanchettin (1967) is associate professor of History of Architecture at Università Iuav di Venezia, where he teaches since 2001 and where he earned his his PhD in History of Architecture and Urban Planning, with a dissertation on social housing in Germany in the Thirties (1999). As a fellow at the Bibliotheca Hertziana – Max Planck Institut für Kunstgeschichte in Rome, he studied the urban development of Rome in the early 1500s. Later on, he concentrated his research on the work of Carlo Scarpa, focusing on the construction process and the architectural drawings. In 2006 he collaborated with the Österreich Institut in Rom on the Adolf Loos exhibition (Rome 2007). As Alexander von Humboldt fellow (2007–2009), he concentrated his research on Michelangelo as architect, and on the structural travertine building process at the Fabbrica di San Pietro. At that time he was visiting professor at the Rheinische Friedrich-Wilhelms-Universität Bonn. For his research on the Vatican Basilica he was awarded the Hanno-und-Ilse-Hahn prize from the Bibliotheca Hertziana – Max Planck Institut für Kunstgeschichte in 2009. In 2012 was a visiting professor at Virginia University and further research about the early architectural work Michelangelo at Kunsthistorisches Institut di Firenze – Max Planck Institut. Since 2000 he collaborated in many projects with the Centro Internazionale di Architettura Andrea Palladio in Vicenza, becoming member of its scientific committee. Since 2015 he is the curator of the Office of Architectural Superintendance at the Vatican Musuems, managing the scientific supervision of the architectural restorations. At the moment his research is focused on Raphael’s painted architecture.