By Sam Ridgway

Marco Frascari believed that architects may still layout considerate constructions in a position to inspiring their population to have gratifying and satisfied lives. A visionary Italian architect, educational and theorist, Frascari is best-known for his amazing texts, which discover the highbrow, theoretical and functional substance of the architectural self-discipline. As a pupil in Venice throughout the past due Sixties, Frascari was once taught and mentored by way of Carlo Scarpa. Later he moved to North the USA along with his relatives, the place he grew to become a fulltime educational. all through his educational occupation, he persevered to paintings on a number of architectural initiatives, together with exhibitions, pageant entries, and designs for roughly 35 constructions, a small variety of that have been outfitted. As a way of (re)constructing the theatre of ingenious conception during which those structures have been created, Sam Ridgway attracts on a big variety of Frascari’s texts, together with his richly poetic publication Monsters of structure, to discover the subjects of illustration, demonstration, and anthropomorphism. 3 of Frascari’s pleasant constructions are then dropped at mild and interpreted, revealing a cosmopolitan and interwoven courting among texts and structures.

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Extra info for Architectural Projects of Marco Frascari: The Pleasure of a Demonstration

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In the final two sentences of Monsters of Architecture he states that: In the past, the symbolic and the instrumental representations were unified in the building, and the drawings were seen as merely instrumental representations. ”30 Instrumental representation is concerned with efficiency and production, and has become the dominant mode of architectural representation. In contrast, looking back to traditional, pre-modern ways of making buildings referred to earlier, particularly religious and sacred buildings, we can say that this was a profoundly symbolic, ritualized and sacred affair that is difficult to comprehend from our modern standpoint.

As mentioned earlier, in this sense, master masons were not designing a building, but interpreting the will of God to create His house on earth. In architectural practice in the West, this traditional understanding of architectural symbolism, certainly in relation to the design of modern buildings, even religious buildings, no longer exists. Architects occasionally may refer to the symbolic qualities of their buildings, but this is not usually a reference to Representation 19 traditional symbolism.

This state of affairs has been evolving since the Renaissance, and can be at least partially attributed to a false understanding of the relationship between drawings and buildings. This false understanding has many elements, but one of its key constituents is the current belief that there should be an exact, almost one-to-one relationship between architectural drawings and the resulting building. ” The attempt to be visually exact, a superficial procedure that becomes an end in itself and excludes other important modes of representation, is now standard practice and has become enshrined in the profession and in law.

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