Architecture Constructed by Jarzombek Mark;

Author:Jarzombek, Mark; [Jarzombek, Mark]
Language: eng
Format: epub
Publisher: Bloomsbury Publishing USA
Published: 2023-05-18T00:00:00+00:00

FIGURE 5.1.5 Oslo Opera House, Snøhetta, Oslo, 2007. Photograph by Chuthulu975.

Filarete imagined an easy and happy flow between the Then and the Now. Laugier wanted to violently jump-start the whole process, creating two Nows—the false one and the true one—and yet end somewhere in a cultural space of peace and order. The tension is unmistakable. For the converted architect, shamed into submission, there is little room to maneuver. He was condemned to embody an ambition-less social/historical/empirical ontology that had to deliver the grand narrative with no shred of ambiguity.

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Once the gap between the false Now and the true Now had been opened up as a sliding signifier, there was no turning back. It became the hallmark of modernity. As the century progressed, archaeology and ethnography would become the thickening sauce. Soon even “history,” designed as a story of origin, divergence, and recuperation, became a mythology of its own making.

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Joachim Winkelman’s Geschichte der Kunst des Alterthums (The History of Art in Antiquity, 1764) marks the intensification—and increased stressing—of that message. The terminus post quem is not Adam’s house, not the primitive hut, but the temples of ancient Greece that belonged to a imagined period where political freedom flourished in the context of an ideal Mediterranean climate. If architecture was to have relevance, it would have to take its cue from Greek art:

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