By John R. Senseney
This publication examines the applying of drawing within the layout means of classical structure, exploring how the instruments and methods of drawing built for structure for this reason formed theories of imaginative and prescient and representations of the universe in technological know-how and philosophy. development on contemporary scholarship that examines and reconstructs the layout technique of classical structure, John R. Senseney specializes in technical drawing within the development exchange as a version for the expression of visible order, displaying that the suggestions of historical Greek drawing actively decided recommendations concerning the global. He argues that the uniquely Greek techniques of image development made up our minds rules that formed the massing, specific traits, and refinements of structures and the way within which order itself was once predicted.
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Extra resources for The Art of Building in the Classical World: Vision, Craftsmanship, and Linear Perspective in Greek and Roman Architecture
Regardless of whether Vitruvius intended to elevate his own position and that of the trade of architects through his detailed theoretical account of architecture,46 there is an additional possibility that I explore below. This is the possibility of what it means for theory itself to have come into being as a set of ideas able to be shared among disciplines: That as ideai, these ideas or principles were caught up with an explicitly visual nature, a claim whose strangeness may be assuaged by the realization that the ideai were related to what it meant to see («de±n), and that this seeing was discovered largely through drawing for the purpose of building.
Significantly, Plato has Sokrates say: “And are we not accustomed to say (e«Ûqamen lgein) that the craftsman . . ” (Republic 596b). 54 In other words, the ideai of Plato may represent the adoption of a common term as a metaphor to describe his metaphysically charged notion of transcendent, intelligible reality.
To explore the subject of Greek technical drawing, then, is to enter into the transcendent guiding principles that ordered how Greek architects conceived of and constructed space and the experience of vision itself, including linear perspective. Penetration to such an unlikely realm requires detailed analysis and synthesis of different kinds of scarcely surviving evidence – metrological, mathematical, and textual – from different contexts associated with different kinds of buildings that preserve the potential to shed light onto a disembodied process separated from us by two millennia and connected to us by little more ᪉ 19 The Art of Building in the Classical World 11 Leonardo da Vinci (1452–1519).