By Mario Carpo
The self-discipline of structure relies on the transmission in house and time of amassed reports, strategies, ideas, and versions. From the discovery of the alphabet to the improvement of ASCII code for digital verbal exchange, the method of recording and transmitting this physique of data has mirrored the dominant details applied sciences of every interval. during this e-book Mario Carpo discusses the communications media utilized by Western architects, from classical antiquity to trendy classicism, exhibiting how every one medium concerning particular different types of architectural considering. Carpo highlights the importance of the discovery of movable style and automatically reproduced photographs. He argues that Renaissance architectural concept, rather the process of the 5 architectural orders, was once consciously constructed based on the codecs and capability of the recent revealed media. Carpo contrasts structure within the age of printing with what preceded it: Vitruvian conception and the manuscript layout, oral transmission within the heart a while, and the fifteenth-century transition from script to print. He additionally means that the elemental rules of "typographic" structure thrived within the Western international so long as print remained our major details know-how. The shift from published to electronic representations, he issues out, will back regulate the process structure.
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Extra info for Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory
27 Indeed, the training of medieval builders must have gone otherwise, and as far as we know without the help of illustrated books. The knowledge of medieval builders had to be at one and the same time transmitted to colleagues and shielded from outsiders. More informative drawings, which might have encapsulated and illustrated complex building procedures, risked failure on both counts. Apart from the problems of reproducibility that we have already discussed, such images would have been too easily deciphered by prying eyes.
Like Aristippus of Cyrene, whose anecdote Vitruvius had also related,38 Arculf disembarked (Aristippus was in fact shipwrecked) with his own memory as his only souvenir. It was Adamnan who transcribed the ﬁrst-hand account of the pilgrim. When the need arose, the narrator also made use of improvised sketches. But in this transition from oral to written history, the transcription of images did not accompany transcribing the words. Adamnan could not “take down” the ﬂoor plans from dictation. The ﬁnal text refers to four illustrations, but Adamnan does not conceal from the reader his confusion and trepidation about them.
In the city of . ), which on the one hand demonstrates a tendency to generalization or formalization of the discipline. On the other hand, and this too troubled Renaissance architectural theorists, Vitruvius | | 21 | Chapter 2 | | 22 | shows little interest in, and even resists, giving exhaustive descriptions of the architectural elements that he names. 21 What Vitruvius has transmitted to us are names and proportions. Occasionally, Vitruvius describes forms—primarily plans and geometric diagrams or the hierarchy of the moldings of bases, capitals, and architraves—but for this, literary ecphrasis has its limits.
Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory by Mario Carpo