As an iconic figure of the Renaissance, Raphael has been the subject of extensive scholarly study. His contributions to the Roman villa of Agostino Chigi, now known as the Villa Farnesina, however, have garnered minimal attention. This thesis aims to reevaluate Raphael's contributions to the villa, as they represent some of his most diverse production, not only as artist but also as antiquarian, architect and theatrical scenographer. As this synthesis will reveal, these key evolutions within Raphael's pursuits can be tied to his exchanges with Venetian painter Sebastiano del Piombo and painter/architect Baldassarre Peruzzi with whom Raphael worked while at the Farnesina. These exchanges will be considered through the emergent artistic application of co-opetition, a blend of competition and cooperation. It is through these interactions that Raphael's work at the Farnesina can be positioned as catalyst to his continued development beyond prominent artist into esteemed architect and archaeologist working in early cinquecento Rome. The aim of this study is not only to advance our knowledge of Raphael but also to better contextualize the dynamic atmosphere fostered within Chigi's grounds, giving better understanding of Peruzzi's and Sebastiano's contributions that resulted in the artistic and architectural landmark that was the sixteenth-century Villa Farnesina.