The Architect and the Representation of Architecture: Sebastian Serlio's frontispiece to Il terzo libro

Luscombe, DO

The Architect and the Representation of Architecture: Sebastian Serlio's frontispiece to Il terzo libro

Luscombe, DO

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Publisher:: University of Sydney
Publication Type:: Journal Article
Citation:: Architectural Theory Review, 2005, 10 (2), pp. 34 - 53
Issue Date:: 2005-01

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Field	Value	Language
dc.contributor.author	Luscombe, DO https://orcid.org/0000-0002-6574-0208	en_US
dc.date.issued	2005-01	en_US
dc.identifier.citation	Architectural Theory Review, 2005, 10 (2), pp. 34 - 53	en_US
dc.identifier.issn	1326-4826	en_US
dc.identifier.uri	http://hdl.handle.net/10453/4865
dc.description.abstract	This paper questions what at any time is used to represent the discipline of architecture and the figure of the architect as constructs within historical notions of the social. By examining a single illustration, the frontispiece to Sebastiano Serlio's. II lerzo libro, the paper argues that the frontispiece portrays a correspondence between the technical conventions of the architect with the concepts and principles of the discipline. The frontispiece didactically states that the architect is able to fulfil the role implicit in 'Nature.' to transform the 'licentiousness' of antique architecture through reason and judgment, and through this transformation bring ideals of decorum lo concepts of the social through architecture. The paper shows thai for late Renaissance Italy, the architect is represented as intellectually autonomous from, while dependent on. structures of governmentality and patronage for the formation of the discipline. This formulation enabled the architect to represent the social through architecture's resolution of the competing circumstances of the city.1	en_US
dc.publisher	University of Sydney	en_US
dc.relation.ispartof	Architectural Theory Review	en_US
dc.title	The Architect and the Representation of Architecture: Sebastian Serlio's frontispiece to Il terzo libro	en_US
dc.type	Journal Article
utslib.citation.volume	2	en_US
utslib.citation.volume	10	en_US
utslib.for	1201 Architecture	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.issue	2	en_US
pubs.volume	10	en_US

Abstract:

This paper questions what at any time is used to represent the discipline of architecture and the figure of the architect as constructs within historical notions of the social. By examining a single illustration, the frontispiece to Sebastiano Serlio's. II lerzo libro, the paper argues that the frontispiece portrays a correspondence between the technical conventions of the architect with the concepts and principles of the discipline. The frontispiece didactically states that the architect is able to fulfil the role implicit in 'Nature.' to transform the 'licentiousness' of antique architecture through reason and judgment, and through this transformation bring ideals of decorum lo concepts of the social through architecture. The paper shows thai for late Renaissance Italy, the architect is represented as intellectually autonomous from, while dependent on. structures of governmentality and patronage for the formation of the discipline. This formulation enabled the architect to represent the social through architecture's resolution of the competing circumstances of the city.1

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http://hdl.handle.net/10453/4865