Krupali Krusche, the 2025 Adele Chatfield-Taylor Rome Prize Fellow in Historic Preservation and a professor at the University of Notre Dame, brings a precise and poetic eye to the layered histories of classical architecture. At the American Academy in Rome, her research has focused on Palladio’s drawings and their enduring influence on how we interpret ruins, space, and architectural memory. In this wide-ranging interview, Krusche reflects on the value of observational sketching, the erasures of archaeological excavation, and the transformative power of interdisciplinary exchange—from shoptalks and shared meals to long walks and the quiet rigor of archival study.
Palladio’s “I quattro libri dell’architettura” contains both prescriptive and descriptive drawings. How do you see his interpretations shaping our modern understanding of these structures?
Palladio’s hybrid approach—balancing idealized reconstructions with empirical observation—has significantly shaped how we conceptualize classical architecture today. His prescriptive drawings distilled what he saw as the essential geometries and principles of antiquity, offering a framework for replication and reinterpretation across centuries. At the same time, his descriptive work, based on firsthand encounters with ruins, acknowledged the fragmentary and evolving nature of the built environment.
In my research with measured drawings by various sixteenth- and seventeenth-century architects of the Roman Forum, I see how Palladio’s on-site drawings being more about documenting the ruins “as is” and those published finally in 1570 in I Quattro Libri being filled with creative interpretations. Today, Palladio’s influence still conditions our expectations—they also prompt critical inquiry into the boundaries between historical fidelity and aesthetic projection. His work raises enduring questions about what it means to reconstruct the past: where does accurate representation end, and where does creative idealization begin?
Many Renaissance architects learned by sketching ancient ruins. Do you think this kind of direct observational practice still has a role in architectural education today?
Absolutely. Observational sketching cultivates a deep, embodied understanding of design, proportion, and materiality that digital tools alone cannot provide. My work in the Roman Forum, particularly through analyzing Palladio’s meticulous studies, reaffirms the value of slow, attentive observations. Renaissance architects didn’t just record—they interpreted, questioned, and theorized through drawing. In contemporary architectural education, this practice can still ground students in a critical awareness of context, historical layering, and the lived experience of architecture. It’s not about nostalgia for the hand-drawn but about engaging fully with the complexity of built form.
The Roman Forum we see today has been shaped by both preservation and destruction. How did the removal of the medieval fabric impact our reading of these ancient structures?
In an age when the curated loss of history has become disturbingly routine, my project draws on a site shaped by three thousand years of continuous transformation to reveal how curated histories of place can both construct and obscure its true identity. The nineteenth- and early twentieth-century excavations in the Forum prioritized exposing the classical past, often at the cost of erasing later layers. The medieval and early modern additions weren’t merely accretions; they were part of the Forum’s continuous life. Their removal has created a curated vision of antiquity that aligns with a particular narrative of Roman grandeur, but it also distorts the site’s full historical trajectory.
In studying Palladio’s drawings, along with etchings and paintings by scholars like Dossi and Canaletto, I was able to reconstruct layers of the Forum which include structures no longer visible today, I became acutely aware of the interpretive losses we suffer when we excavate with a singular lens. The Forum as a palimpsest offers richer lessons than the Forum as a monument to one era alone.
How have your interactions with this year’s fellows and residents influenced your work or changed your perspective?
This year’s community has been remarkably interdisciplinary, profoundly shaping my understanding of architecture not just as a technical or historical discipline, but as a cultural and ethical one. Conversations with scholars in classics, architects, composers, artists, and environmental scholars have reframed my questions about what we choose to preserve and why. These exchanges revealed unexpected parallels between architectural reconstruction and other forms of historical interpretation—whether in literature, music, or material conservation—broadening both the scope and resonance of my research.
I have been deeply moved by my interactions with fellows and residents, with each encounter a window into new perspectives that have profoundly influenced my thinking. Hajar Mehrani’s poignant short stories, for instance, left me in tears, sparking a deep reflection on the question, “Who am I?”—a theme that has echoed through my work and conversations ever since. This influence carried into my shoptalk with Michelle Chang, where we explored the concept of “Lost Identities,” a term that captures the complex relationship between architecture, heritage, and the lives shaped by these spaces.
Conversations with Claire Dillon challenged me to consider voices often overlooked in architectural history, pushing me to think beyond a Western-centric lens and focus on communities rarely acknowledged. Katherine L. Beaty shared her approach to preservation as a living, evolving practice, weaving new threads into old contexts and underscoring the importance of human connections in this work. Vassiliki Panoussi‘s encouragement on our runs inspired me to push my physical boundaries, mirroring the resilience required in both life and research. Shannah Rose’s unwavering determination in the face of adversity reminded me of the power of young leaders to shape the world, while long philosophical walks with Oliver Sensen deepened my reflections on the “self” and the often-hidden themes that shape our work as architects and thinkers.
Evening conversations with Alex Alfano and Jonah Haven reversed the typical mentorship dynamic, prompting me to let go of old habits and make space for growth. These moments of reflection revealed the importance of embracing change and humility as I navigate my career.
When I interviewed for this fellowship, I mentioned my desire to understand the role of food in human dignity—a passion sparked by my admiration for Alice Waters. Meeting her in person at the Academy was a dream come true, but even more impactful was my time with the Rome Sustainable Food Project (RSFP) team under the leadership of Fausto Ferraresi. From the early morning prep led by Sara Levi, whose care for each dish is palpable, to Giorgia Lauri’s relentless drive to make a difference, to Valentina Montrone’s joyful balance of work and motherhood, I have been inspired by their dedication. Hanna Lilly’s keen eye for foraging, Olivia O’Brien’s knack for crafting perfect sauces, and Ana Beatriz Soto Sugden’s flawless risotto have all deepened my appreciation for the art and labor of sustainable cooking.
The behind-the-scenes work of the RSFP crew—Arjun, Vic, Andy, Gabri (the witty smile!), Tiziana, and Alessandro—has reminded me that architecture, like cooking, thrives on collaboration, care, and a shared sense of purpose. Their love for their craft and their commitment to sustainability will resonate with me long after I leave this place.
How much did you use the Academy library? Where else did you conduct your research?
The Academy library was a daily resource—especially its collection of rare books and architectural treatises, which allowed me to cross-reference Palladio, Serlio, and da Sangallo in context. But my research extended well beyond it. I spent significant time on-site in the Roman Forum, where direct observation and comparison with early drawings proved invaluable. I also worked closely with the Vatican Library, Vatican Archives, RIBA Archives in London, and the Palladio Museum in Vicenza, examining original drawings to trace the evolution of architectural representation. That combination of archival study and fieldwork is central to my methodology.
Sebastian Hierl has been an invaluable source of support during this period, providing generous assistance in facilitating access to a wide range of resources and archival materials. His guidance has greatly enriched my research experience at the American Academy in Rome. The AAR Library remains an essential cornerstone of my scholarly work, offering not only a rich and diverse collection but also the time and space necessary to delve deeply into my studies.
Of particular importance have been the photo archival sources and digital reproductions related to the Roman Forum—extraordinary materials that offered a rare opportunity to examine and reflect on the Forum’s layered history and architectural detail. These resources have significantly advanced the scope and depth of my ongoing research.