The Palace was built on a plot of land which had belonged to the Valmarana's family since 1483. The area extended from Corso Fogazzaro to the Church of San Giacomo.
Existing buildings meant the Palace's width was limited. This inspired Palladio to abandon the classical model that placed the main hall in the centre of a building, till then a typical feature in Veneto Architecture.
By moving the main hall back to receive light from the courtyard, Palladio was able to create a cloister atrium.
The table in the Trattato (1570) makes the floor plan appear regular despite the fact the front of the palace follows the oblique angle of the street.
The main facade forms an immense architectural relief, which is particularly impressive when seen from a side perspective. It relates to the neighbouring buildings brilliantly; the structural pattern is suspended with six huge pilasters, held three metres from the ground, while two large statues stand ready to support the family emblem that would complete the work. Adorning the already highly developed frontage are four, high reliefs depicting scenes from Roman history (the work of Domenico Fontana).
Remaining unfinished till today, the Palace belongs to the late period of Palladio. Unlike the ideal as set out in Palladio's Quattro Libri dell'Architettura the building, raised over the foundation and using part of the main walls of an existing 4th Century building, incorporates variations that conform and harmonise with the structure of the site.