Architectural representation and the perspective hinge. Alberto Pérez-Gómez, Louise Pelletier / txt
Massachusetts : MIT Press , 2000Edición: First MIT Press paperback editionDescripción: 505 p. ill. 24 cmTipo de contenido:- text
- unmediaded
- volume
- 9780262161695
- 9780262661133
- 720/.22/2 21
- NA2700 P4 2000
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Descripciones mejoradas de Syndetics:
The relationship between the architectural representation and its intended product--a building--has undergone a profound transformation over the centuries. Before the age of modern technology, the systematically predictive role of architectural drawing so taken for granted today was less dominant in the evolution from architectural idea to built work. The age of computer-aided design has brought with it a stricter standard of fidelity. However, contemporary architecture need not simply accept the inevitability of a technological imperative. This book demonstrates that representation is never a neutral tool or mere picture of a future building. Writing from inside the discipline of architecture, rather than from the more common extrapolations from the history of painting and philosophy, Alberto Perez-Gomez and Louise Pelletier focus on the implications of the tool of perspective (and the hegemony of vision) for architectural representation. Their primary thesis is that tools of representation have a direct influence on the conceptual development of projects and generation of forms, and that there are alternatives to the reductive working methods of most contemporary practice. The book examines textual evidence across a broad historical period, concentrating on the relationship between drawing and architectural space in the period from the seventh to the twentieth century. To understand and evaluate the place of vision in the Western architectural tradition, the book includes a general introduction to optics in antiquity and the Middle Ages and addresses the question of the evolution of linear perspective. This is not, however, a general history of perspective. The book discusses such issues as optical correction and the nature of architectural drawing in selected treatises, revealing the complexity and potential contradiction inherent in any linear history of representation. The authors' ultimate aim is to probe the possibilities of the constructed world--that is, architecture--as a poetic translation, rather than prosaic transcription, of its representations.
Includes bibliographical references (p. [456]-497) and index.
Prelude--
Mapping the Question: The Perspective Hinge --
3 - Translation vs. transcription. The poetic origin of architecture. --
8 - Architectural meaning and the tools of the architect. The fallacy of neutral techniques. --
10 - Theories of vision and the reciprocity between seeing and being seen. Perspectiva naturalis, medieval optics, and temporality. --
16 - From natural perspective to artificial construction. The inception of perspectiva artificialis in the Renaissance. --
29 - Binocular vision. The introduction of a second observer. --
33 - Sectioning the cone of vision: the nature of theory. From footprints and faces to architectural representation as a set of coordinated projections. The origin of modern architectural representation in the European seventeenth and eighteenth centuries. --
51 - The science of the observer. Transformations in the concept of light: from divine emanation (perspectiva naturalis) to quantifiable substance (perspectiva artificialis). --
68 - Back to modernity and beyond. Projective optics and the speed of light. --
80 - Casting light onto modernity. The use of projection in the modern world. --
83 - From instrumental representation to collective participation?
Variation One --
Architectural Representation and the Distorted Image --
89 - Against a progressive history of the image. The use of projections in antiquity: Ptolemy. --
97 - Scenographia and optical correction from Vitruvius to Perrault. Euclid's Optics and the priority of embodied experience. --
105 - Model and scenography. From mode and module to scale model. --
111 Sciographia and projected shadows. Barbaro and Scamozzi: the architectural section as shadow or imprint. The objectification and systematization of shadows in perspective. --
125 - The extent of infinity. Girard Desargues's projective geometry and Juan Caramuel de Lobkowitz's theories: two frameworks for the use of projection in architecture. --
138 - Relocating anamorphosis. The initial disjunction of undis-torted presence and distorted appearance: from magical manipulation to innocuous game. --
149 - Constructing a distorted order. Desargues's projection as totalizing vision. Caramuel de Lobkowitz's architectura oblicua: a "strange" symbolic order. -
158 - When the center becomes peripheral. Distorted appearance as a denial of perspective depth. --
161 - The confrontation between theory and practice. Guarino Guarini's critique of Caramuel.
Variation Two ---
Cosmological Perspectives --
177 - Setting the world in motion. The implications of a Copernican world-view. --
185 - Redefining a hierarchical universe. Johann Heinrich Lambert's cosmological theory. --
195 - Recentering the world. Lambert's reversible perspective theory and his perspectograph. --
205 - The eccentric point of view. Lambert's perspective and its relationship to quadratura and scena per angolo. --
214 - Perspective fantaisies. Jean-Laurent Legeay's disrupted perspective space. --
227 - A world of scientific light and objective shadows. The beginning of scientific photometry. --
230 - Framing the Earth. From mythical maps of temporalized space to Lambert's modern cartography. --
243 - Cosmological volumes. The (Platonic) architectural structure of the cosmos: a theme for early parallel projection in Renaissance and Baroque perspective treatises. --
266 - Truth as measurement: fortifications and isometry. Representation in Renaissance and baroque treatises on fortification. Filarete, Simon Stevin, Vauban, and others. Perspective as a military discipline in the eighteenth century. Back to natural perspective: the fusion of perspective and mechanistic optics. Different consequences of the "naturalization" of perspective.
Variation Three --
The Image without an Observer in a Scopophilic World --
281 - Between darkness and light. From the camera obscura to the camera lucida. The coincidence of scientific optics and descriptive geometry. --
288 - From perspectivism to pure objectivity. Epistemological consequences. --
292 - From physics to pataphysics. Science and architectural theory. --
298 - The perspective hinge. Between reductive precision and self-referential poetic revelation. Perspective drawing as delusion. From descriptive to projective geometry: Durand and instrumentality. --
307 - From measurement to abstraction: isometry and axonometry. Auguste Choisy's objectified history of architecture. --
317 - The reversibility of axonometry. Lissitzky's Pangeometrie. --
322 - The collapse of the image and the represented object. The trace and the index. --
330 - Vision and depth. From perspectivism as the condition of modern/postmodern solipsism to a retrieval of projection as the site of ontological continuity. Marsilio Ficino, Friedrich Nietzsche, Walter Benjamin, and Maurice MerleauPonty. --
340 - Axonometry as collage: Le Corbusier's Poeme de Pringle droit. A poetic theory of architecture. --
361 - Time into lived space: Le Corbusier's La Tourette. The architectural program as project and situation. --
Coda --
371 — Projection revisited: the reversibility of optics. Projection revisited in art and cinematography. The chiasm of light and shadow as the site of truth. --
377 — Digital space. The potential of absolute fluidity and the pitfalls of increasing fixation and reduction. --
383 — Philosophical corollary. The world as technology. De architectura in ten notes. --