C. Macy's Festival Architecture (The Classical Tradition in PDF

Decorative Arts Design

By C. Macy

With contributions from provocative artwork and architectural historians, this e-book is a different exposition of the transitority structure erected for fairs and the position it has performed in constructing Western architectural and concrete idea. pageant structure is prepared in ancient sessions – from Antiquity to the fashionable period – and divided among analyses of particular gala's, set on the subject of modern structure and concrete layout rules and theories. Illustrated with a wealth of surprising and rarely-seen pictures from the ecu pageant culture, this can be a interesting define of the background of competition structure perfect for postgraduate structure and concrete layout scholars.

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Extra resources for Festival Architecture (The Classical Tradition in Architecture)

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Cicero described the ludi scaenici theatrical performances watched by citizens as “maxime casti, solemnes, religiosi ” (“chaste, solemn, and holy”; Har. resp. 12). In contrast, other authors, including Lucretius and Dionysius of Halicarnassus, characterized the kinetic parade of foreign, slave, and freedmen participants as raucous, foreign, and loud. Lucretius writing in the first century BCE gave a lively depiction of the human participants and viewers: The Galli come: And hollow cymbals, tight-skinned tambourines Resound around to bangings of their hands; The fierce horns threaten with a raucous bray; The tubed pipe excites their maddened minds 34 Diane Favro In Phrygian measures; they bear before them knives, Wild emblems of their frenzy, which have power The rabble’s ingrate heads and impious hearts To panic with terror of the goddess’ might.

Republican worthies demonstrated the principle of “nothing to hide” by selecting prominent hilltop sites for their houses; Cicero boasted about his residence on the Palatine, “My house, gentlemen, stands full in view of well-nigh the whole city” (Dom. 100). Other important individuals drew attention by riding in carriages such as the pilentum, which elevated them above the teaming crowds clogging Rome’s streets. The right to such a highly visible position was awarded as a special honor. For example, the state acknowledged the generosity of Rome’s matrons who donated their jewelry during a conflict by conferring upon them the right to drive to sacred festivals and games in a carriage, and on holy days and work days in a two-wheeled cart (Liv.

C. Gracch. 3. The painting Spring by Sir Lawrence Alma Tadema (1894) provides an evocative, if Victorian, rendition of a Roman processional audience crowding every urban surface in order to get a good view. A scene from a modern historical novel reverses the viewing, with an Imperial triumphator looking at his paramour who watches the parade from an upper window; Davis 1998, 169–71. Contemporary spatial explorations in architecture and urban design draw heavily upon the writings of Heidegger and Lefebvre; Yoko 1996.

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