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Binka Zhelyazkova's film The Last Word (1973) contains numerous liminal spaces: the prison building and its adjacent courtyard, for example, but also the cell itself, where the gloomy prison atmosphere clashes with Lika Yanko's naively surrealist murals. Quite a few shots in the film draw attention to the architecture of the prison -- the vault of the gates, the courtyard, the tower as well as the interior -- the staircase, the cell itself, the floors of the central tower, etc. These spaces probably contain many implicit visual references, for example to Piranesi's Imaginary Prisons. [ABSTRACT FROM AUTHOR]

There are only a few works you can find in Piranesi's Etching that are not related to the "past". In his work, "ruin" is the most frequent theme. This article targets the ways ruin is depicted in Piranesi's work. Thus, by considering Piranesi’s prime and typical works and moving through his varying embodiments of ruin, this article will explain the different aspects of these representations and describes, the visuals of the way ruin is shown in his works. Based on Kant's theory of aesthetics in "The Critique of Judgment" and describing the concept of "sublimity" within that theoretical framework, it’s been attempted to provide the ground for answering "why" this type of representation reflects sublimity.The descriptive-analytical findings from this research indicate that fragmentality is the main feature in showing "the past" in Piranesi's work. Some of his works have archaeological approach, and by them, Piranesi tries to give us an "image" from the past. The dominance of the visual aspect and the frequency of the designs and their expansive range, from fireplace details to monuments and urban design, show that, in Piranesi's view, these pictures are beside each other in a sequence to build a complete picture of "the past". Although "phrases" come in to help the visual with accuracy and detail in some of these pictures, the fragmented quality of the contents of these depictions and the distance between the different types of them are not explained, as if this past would always represent itself as "lost". The recurring theme of "ruin" is also confirming of such an approach. Shape-wise, the most prominent manifestation of Piranesi's "ruins" is their enormous dimensions. Such depictions of memorials are recounting of the "mathematically sublime" in Kant's aesthetic system. As if in the face of "the sublimity" of these ruins, imagination fails to comprehend the mounting perceptual apprehensions. Also, ruins, in different ways, bespeak the power of the passing of time as a natural force. The sign of decadence on these ruins, in the forms of distortion of segments and growth of moss and greens, on another level, can intrigue experiencing sublimity in the audience. This experience is reminding of the "dynamically sublime" in Kant's aesthetics, where the subject feels fear when confronted by the power of nature. This fear, existing in Piranesi’s memorial, can be especially observed in Piranesi’s prison series. Prisons have nested spaces that evoke the impossibility of escaping such powers. In addition, by reviewing the content of the pictures and Piranesi’s text, it is apparent that this failure to comprehend is caused by facing the sublimity of the Roman Empire. Piranesi, in his different works, has attempted to depict this lost glory through pictures and words. However, this civilization and its example in Rome are so “sublime” in his view that they are depicted as a “fragmented” matter.

There are only a few works you can find in Piranesi's Etching that are not related to the "past". In his work, "ruin" is the most frequent theme. This article targets the ways ruin is depicted in Piranesi's work. Thus, by considering Piranesi's prime and typical works and moving through his varying embodiments of ruin, this article will explain the different aspects of these representations and describes, the visuals of the way ruin is shown in his works. Based on Kant's theory of aesthetics in "The Critique of Judgment" and describing the concept of "sublimity" within that theoretical framework, it's been attempted to provide the ground for answering "why" this type of representation reflects sublimity. The descriptive-analytical findings from this research indicate that fragmentality is the main feature in showing "the past" in Piranesi's work. Some of his works have archaeological approach, and by them, Piranesi tries to give us an "image" from the past. The dominance of the visual aspect and the frequency of the designs and their expansive range, from fireplace details to monuments and urban design, show that, in Piranesi's view, these pictures are beside each other in a sequence to build a complete picture of "the past". Although "phrases" come in to help the visual with accuracy and detail in some of these pictures, the fragmented quality of the contents of these depictions and the distance between the different types of them are not explained, as if this past would always represent itself as "lost". The recurring theme of "ruin" is also confirming of such an approach. Shape-wise, the most prominent manifestation of Piranesi's "ruins" is their enormous dimensions. Such depictions of memorials are recounting of the "mathematically sublime" in Kant's aesthetic system. As if in the face of "the sublimity" of these ruins, imagination fails to comprehend the mounting perceptual apprehensions. Also, ruins, in different ways, bespeak the power of the passing of time as a natural force. The sign of decadence on these ruins, in the forms of distortion of segments and growth of moss and greens, on another level, can intrigue experiencing sublimity in the audience. This experience is reminding of the "dynamically sublime" in Kant's aesthetics, where the subject feels fear when confronted by the power of nature. This fear, existing in Piranesi's memorial, can be especially observed in Piranesi's prison series. Prisons have nested spaces that evoke the impossibility of escaping such powers. In addition, by reviewing the content of the pictures and Piranesi's text, it is apparent that this failure to comprehend is caused by facing the sublimity of the Roman Empire. Piranesi, in his different works, has attempted to depict this lost glory through pictures and words. However, this civilization and its example in Rome are so "sublime" in his view that they are depicted as a "fragmented" matter. [ABSTRACT FROM AUTHOR]

The vastly overscaled elements, lineaments and sculptures of a seemingly infinite house form the backdrop of Susanna Clarke's 2020 novel Piranesi. Head of Teaching and Learning at the Architectural Association, Mark Morris draws on his research into architectural models, paracosms and the representation of buildings in fiction, filtering this through the lens of an encyclopaedic knowledge of architectural history to investigate the book's narrative arc, its ghostly visitations and its beautiful if not overbearing architectural mise en scène. [ABSTRACT FROM AUTHOR]

This paper discusses five works from the recently attributed collection of Charles-Louis Clérisseau’s drawings at the French National Library, which are here published for the first time. In terms of composition, they are clearly comparable to famous prints by Giovanni Battista Piranesi. This paper offers a comparative analysis in order to highlight the originality of Clérisseau’s artistic interpretations.

The last few years have witnessed an explosion in printing technologies that facilitate the dressing of buildings in a thin veneer of advertising, visual trickery and anamorphic distortions. David Freeland and Brennan Buck are interested in the articulation of these techniques and scales, and what they might mean for contemporary architecture and our visual experience. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract The viability of fiber optics reflectance spectroscopy (FORS) for the differentiation of red chalk drawing media was investigated, focusing on the group of drawings from the workshop of Giovanni Battista Piranesi (1720–1778) at the Staatliche Kunsthalle Karlsruhe, Germany. The evaluation of spectra was supported by principal component analysis (PCA). The method was tested on mock-up drawings made with recently acquired natural and synthetic red chalks of known origin. It was possible to sort these mock-up drawings according to chalk type and application technique. The compositional differences of these reference chalks were confirmed by X-ray diffraction (XRD) and scanning electron microscopy (SEM). Subsequent FORS analysis of selected original drawings revealed the existence of several closely grouped clusters, implying similarities on the basis of the underlying spectral features among the historical red chalks used in Rome. These similarities distinguished the historical drawings from the red chalk mock-up drawings, except for the drawings made with red chalk samples from the area near the town of Theley, Germany, which were shown to bear close similarities to those in the cluster of historical samples.

New Campo Marzio is a collaboration between Damjan Jovanovic and Lidija Kljakovic of lifeforms.io and M Casey Rehm of Studio Kinch. Jovanovic and Rehm are also faculty at the Southern California Institute of Architecture (SCI‐Arc). They have used AI and game engines to create a new vision for the iconic public space in Rome, inspired by and inputting data from Giovanni Battista Piranesi's seminal architectural plan of it from 1762. [ABSTRACT FROM AUTHOR]

This article analyzes the constructive and speculative forms of bullshitting in the art field through the etchings of G. B. Piranesi. In reviewing the historical context and the allegorical and technical aspects of his etchings compared to H. Frankfurt's definition of bullshit, the study contends these artworks' propositional and unique rhetorical languages. Consequently, it explores a potential form of bullshit art that is manipulative and fictional but also constructively critical. [ABSTRACT FROM AUTHOR]

The viability of fiber optics reflectance spectroscopy (FORS) for the differentiation of red chalk drawing media was investigated, focusing on the group of drawings from the workshop of Giovanni Battista Piranesi (1720–1778) at the Staatliche Kunsthalle Karlsruhe, Germany. The evaluation of spectra was supported by principal component analysis (PCA). The method was tested on mock-up drawings made with recently acquired natural and synthetic red chalks of known origin. It was possible to sort these mock-up drawings according to chalk type and application technique. The compositional differences of these reference chalks were confirmed by X-ray diffraction (XRD) and scanning electron microscopy (SEM). Subsequent FORS analysis of selected original drawings revealed the existence of several closely grouped clusters, implying similarities on the basis of the underlying spectral features among the historical red chalks used in Rome. These similarities distinguished the historical drawings from the red chalk mock-up drawings, except for the drawings made with red chalk samples from the area near the town of Theley, Germany, which were shown to bear close similarities to those in the cluster of historical samples. [ABSTRACT FROM AUTHOR]

Copyright of Mouseion (19817207) is the property of Editora Unilasalle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is an arc of 'chunkiness' (collage, montage and assemblage) which runs through much art and architecture, pulling together art practices and eras that at first seem very different from each other. Mario Carpo, Reyner Banham Professor of Architectural Theory and History at the Bartlett, University College London and Professor of Architectural Theory at the University of Applied Arts in Vienna, eloquently takes us along its path. [ABSTRACT FROM AUTHOR]

Constrained artificial intelligence can provide many benefits to the building industry of the 21st century. Los Angeles‐based multidisciplinary designer and SCIArc tutor M Casey Rehm describes how AI, programmed without a priori concepts, can develop many previously inconceivable architectural solutions. Such designs do not depend on traditional or received human thought patterns. [ABSTRACT FROM AUTHOR]

Through his current drawing work, 2's Editor Neil Spiller traces the protagonists of MoMA's 1988 'Deconstructivist Architecture' exhibition back to the Surrealists and their engagement with Paris as a great engine of chance, liberating the coiled‐up and unseen properties of objects. [ABSTRACT FROM AUTHOR]

Dreams of Stone: Towards a Posthuman Aesthetics in Sam J. Lundwall’s Fängelsestaden This article examines the thematic and formal materiality of Swedish writer Sam J. Lundwall’s multimodal novel Fängelsestaden (1978). The book is illustrated by Giovanni Battista Piranesi’s Carceri etchings from 1761, but is also inspired by them, which engages the reader as part of a media ecology of text, visual art, and more. The participatory aesthetics is further highlighted by metaleptic elements within the text, as well as the unimportance of humanity compared to the city itself being a major theme. A conclusion is that the novel thematizes materiality at the same time as being an example of the dissolution of the borders between human and animal, mind and body, nature and culture, and, especially, form and content.

The concept of atmosphere in present architectural theory has many points of convergence with the insights of 20th‐century Surrealism. Alberto Pérez‐Gómez – Saidye Rosner Bronfman Professor of the History of Architecture at McGill University in Montreal – here examines themes including desire, poetics, musical affinities and the risks of stylistic imitation, with reference to writers from André Breton to Octavio Paz and from Edmund Husserl to Maurice Merleau‐Ponty. [ABSTRACT FROM AUTHOR]

Si desde el punto de vista del debate ilustrado sobre el lenguaje de la arquitectura, la serie Carceri de Piranesi representa la pionera intuición de que la respuesta podría estar en el entendimiento de la construcción como lenguaje alternativo al clasicismo, en Antichità Romane se confirma esa revolucionaria idea y se vincula a la búsqueda de los orígenes de la arquitectura en el doble sentido, histórico y hermenéutico. Los levantamientos pseudo arqueológicos que recoge pretenden demostrar los orígenes romanos de la arquitectura, pero también que su concepción se rige por los mismos principios de racionalidad y esencialidad que en ese momento se proponen para la refundación ilustrada de la arquitectura.

This article examines artists’ attempts to recuperate a sense of historical process and temporality in the material objects they scrutinized. In the later eighteenth and early nineteenth centuries innovative visual approaches were developed that privileged the inspection and recording of material evidence where traces of historical alterations could be found. Such careful attention to historical sequence necessarily opposed an understanding of identity whose concentration on function and purpose transcended the vicissitudes of time. This visualization of the materiality of history was aided by three principal graphic devices: textual inscription, differentiated sequence, and notated palimpsest. Referring to Thomas Patch, William Stukeley, Giovanni Battista Piranesi, and John Carter, examples are provided of their records of alterations to works of art, monuments, and built structures. Their several approaches are located within broader discussions of temporality, memory, and change. [ABSTRACT FROM AUTHOR]

This article does not try to be more than a small preface to the catalogue that shows the presence of Rome in the old books that belonged to the Library Philology of Universidad Complutense and today keeps the Historic Library «Marqués de Valdecilla» (UCM). The two routes that operated the image of the city are reviewed: Mirabilia Urbis Romae and the scientific or pre-archeological studies. Finally the catalogue is suplemented with the books of this matter, today well preserved at the Historic Library.

Mike Kelley's 1995 sculptureEducational Complex, an architectural model that amalgamates every school Kelley ever attended, presents an ambivalent narrative on the psychology of memory and trauma, using institutional forms to comment on the unconscious. Memory and architecture merge similarly in the writings and images of Renaissance mystic and scholar Giordano Bruno. The idea of imaginary architecture is linked with punishment in theCarceri d'Invenzione, a series of eighteenth-century prints and drawings by Giovanni Battista Piranesi. Both theComplexand theCarcerireference subterranean spaces of shadow and illusion, and thus have an affinity with Plato's cave, with Freudian psychoanalysis, and with the mental torture inflicted by spaces of solitary confinement in contemporary American prisons. This article attempts to bring together discourses of irrationalism in Western intellectual history in order to suggest thatEducational Complexoffers both a context and a critique for modern spaces of punishment. [ABSTRACT FROM AUTHOR]

'Completion is both essential for, and antithetical to, innovation.' Here, Gretchen Wilkins and Guest-Editor Andrew Burrow attempt to resolve this generative paradox by going in search of 'open-to-ending strategies in architectural practice'. They advocate the model of the 'final draft' in the design process as a means to bringing a project to a close while anticipating or encouraging future work. [ABSTRACT FROM AUTHOR]

One crucial debate that resonated in eighteenth-century Europe concerned the origins of European architecture whose effects continue to inform present-day notions of the same. Numerous important eighteenth-century works were produced in the context of emergence of the discipline of architectural history. In this architectural, historical, and archaeological framework, Venetian architect and scholar Giovanni Battista Piranesi (1720-1778) played an important role by his visual and literary works as well as original approach to history. Piranesi developed a history of architecture that was not based on the East/West division and the separation of continents. In opposition to writers like Winckelmann who rooted the origin of Roman architecture in the Greek, he claimed that Roman architecture derived from the Etruscan which found its roots in Egypt. Discussion of roots depended on the eighteenth century on aesthetical theory interpreting Grecian architecture as 'beautiful' and Roman -thus Egyptian- as 'sublime'. It was in this lively intellectual environment that Piranesi searched the origins of Roman -and thus the whole European-architecture. His works were, however, misinterpreted as being Orientalist by contemporary scholars following Said. [ABSTRACT FROM AUTHOR]

Can cultural progress be held back by linguistic limitations? Architect and educator Marjan Colletti, cofounder of London practice MAM-arch, examines the nouns, adjectives and adjectival compounds used by the architectural profession during the first and second digital turns. He reflects on how restricted vocabularies can cause initially forward-looking concepts to descend into the realm of doctrine and '-isms', and argues that true advancement requires constant evolution of the language employed to describe it. [ABSTRACT FROM AUTHOR]