By Mario Carpo
The self-discipline of structure will depend on the transmission in area and time of amassed reports, suggestions, principles, 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 info applied sciences of every interval. during this publication Mario Carpo discusses the communications media utilized by Western architects, from classical antiquity to fashionable classicism, displaying how every one medium with regards to particular different types of architectural considering. Carpo highlights the importance of the discovery of movable variety and automatically reproduced photos. He argues that Renaissance architectural idea, relatively the process of the 5 architectural orders, was once consciously built in keeping with the codecs and strength of the hot published media. Carpo contrasts structure within the age of printing with what preceded it: Vitruvian thought and the manuscript layout, oral transmission within the center a while, and the fifteenth-century transition from script to print. He additionally means that the fundamental rules of "typographic" structure thrived within the Western international so long as print remained our major details know-how. The shift from revealed to electronic representations, he issues out, will back modify the process structure.
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Additional resources for Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory
In the case of architecture as well, woodcut printing brought into being an anthology of visible exempla that replaced the cumbersome and often ineffectual mediation of words. At last the practice of architectural design, which was itself undergoing major transformations in this period, could be informed by the direct consultation of visible models. 7 Although not yet on-line, this multimedia format of text and images was nevertheless easy to access and consult on the printed pages of illustrated catalogs.
The Serlian orders are architectural microdesigns, ready for use but with some assembly required. The user must select, combine, and construct the parts. The scale of the project is just about the only variable not dictated by the system. For the rest, there should be no difference between an image printed in the treatise, its copy in an architectural design, and the three-dimensional form of the resulting structure. The prêt-à-porter line of Renaissance architectural composition, Serlio’s orders were intended to be reproduced as is.
The ﬁgurative arts of the Middle Ages were not ignorant of the principle of imitation, but, as we have seen, medieval imitation was in large part antiiconic. It was only in the Quattrocento that architectural imitation became what it has never since ceased to be—a visual act. Furthermore, in its new graphic format, imitation rose above the secondary role that it had played in medieval architectural thought. Imitation was at the very heart of Renaissance architectural theory. The theory and practice of visual imitation took hold to the detriment of the normative methods of the medieval tradition.
Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory by Mario Carpo