The direct comparison between Jefferson’s projects and Palladio’s ones starts in the hall of honor of the Palladio Museum. The hall turns into the entrance of the exhibition, the place where the relationship between these two personalities starts becoming visible. Jefferson looks at Palladio throughout a device, which cuts off some fundamental elements, ignores some others and integrate everything with a new and pragmatic scientific and empiric attitude. The deformation deriving from all this is fascinating and the devices which form part of the exhibition stress out this fascination. The objects and the sequences in the rooms communicates the idea of a sample collection of singular scientific tools.
Jefferson’s projects are shown fragmented in a patchwork of volumes, like a group of heterogeneous elements kept together, each one supporting drawings, images, models and books. This is someway concordant to the fact that, in Jefferson’s projects, the architecture is a way through which the symbolic part and the functional one get in contact, with no intermediate ladders, which allow the buildings to turn into organisms and parts to integrate one another.