Building in Time: From Giotto to Alberti and Modern Oblivion

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9780300165920: Building in Time: From Giotto to Alberti and Modern Oblivion

This ambitious book is about a way of building that for centuries dominated the making of monumental architecture – yet now not only is it lost as practice, but knowledge of its very existence is consigned to oblivion. In pre-modern Europe, the architect built not just with imagination, brick and mortar, but with time, using vast quantities of duration to erect monumental buildings that otherwise would have been impossible. Not mere medieval muddling-through, this entailed a sophisticated set of norms and practices. Virtually all the great cathedrals of France and the rest of Europe were built under this regime, here given the name ‘Building-in-Time’. In particular, the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan,Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter’s – the apotheosis of the practice – are thus cast in an entirely new light. 

Even as ‘Building-in-Time’ was flourishing, the fifteenth-century Italian architect Leon Battista Alberti proposed a new temporal regime whereby time would ideally be excluded from the making of architecture (‘Building-outside-Time’). Planning and building, which had formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time excluded from architectural facture. Ironically, it was Brunelleschi, as creator of the cupola of Florence cathedral and one of the supreme practitioners of Building-in-Time, who was the lynchpin of Alberti’s turn to the arts in the mid-1430s. That he arrived in Florence just at the moment Brunelleschi’s dome was being completed was crucial to Alberti’s subsequent career in visual culture. Yet his relationship to Brunelleschi was conflicted; first praising and attaching himself to Brunelleschi, later Alberti silently sought to banish him from history’s central stage. 

In telling this story, Marvin Trachtenberg rewrites the history of medieval and Renaissance architecture in Italy and recasts the turn to modernity in new terms, those of temporality and its role in architectural theory and practice. Recovering this lost element of the deep architectural past allows us also to see the present in a new way: that temporality is not any neutral or secondary factor in modern architecture culture, but an epistemic condition that silently affects all production and experience of the built environment.

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About the Author:

Marvin Trachtenberg is Edith Kitzmiller Professor of Art History, Institute of Fine Arts, New York University. His books include the prize-winning Dominion of the Eye: Urbanism, Art, and Power in Early Modern Florence and The Campanile of Florence Cathedral: "Giotto's Tower."

Review:

"Marvin Trachtenberg has devoted decades to elevating the status of the buildings of late medieval and early Renaissance Florence and replacing historians’
myths with credible facts and insightful interpretations. This major, well-illustrated review and synthesis expands his 1997 book Dominion of the Eye. Here again we find keen observations closely coordinated with extensive new documentation."—Carroll William Westfall, Renaissance Quarterly (Carroll William Westfall Renaissance Quarterly)

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Descrizione libro Yale University Press, United States, 2010. Hardback. Condizione libro: New. Language: English . Brand New Book. This ambitious book is about a way of building that for centuries dominated the making of monumental architecture - yet now not only is it lost as practice, but knowledge of its very existence is consigned to oblivion. In pre-modern Europe, the architect built not just with imagination, brick and mortar, but with time, using vast quantities of duration to erect monumental buildings that otherwise would have been impossible. Not mere medieval muddling-through, this entailed a sophisticated set of norms and practices. Virtually all the great cathedrals of France and the rest of Europe were built under this regime, here given the name Building-in-Time . In particular, the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan,Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter s - the apotheosis of the practice - are thus cast in an entirely new light. Even as Building-in-Time was flourishing, the fifteenth-century Italian architect Leon Battista Alberti proposed a new temporal regime whereby time would ideally be excluded from the making of architecture ( Building-outside-Time ). Planning and building, which had formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time excluded from architectural facture. Ironically, it was Brunelleschi, as creator of the cupola of Florence cathedral and one of the supreme practitioners of Building-in-Time, who was the lynchpin of Alberti s turn to the arts in the mid-1430s. That he arrived in Florence just at the moment Brunelleschi s dome was being completed was crucial to Alberti s subsequent career in visual culture. Yet his relationship to Brunelleschi was conflicted; first praising and attaching himself to Brunelleschi, later Alberti silently sought to banish him from history s central stage. In telling this story, Marvin Trachtenberg rewrites the history of medieval and Renaissance architecture in Italy and recasts the turn to modernity in new terms, those of temporality and its role in architectural theory and practice. Recovering this lost element of the deep architectural past allows us also to see the present in a new way: that temporality is not any neutral or secondary factor in modern architecture culture, but an epistemic condition that silently affects all production and experience of the built environment. Codice libro della libreria AAH9780300165920

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Descrizione libro Yale University Press, United States, 2010. Hardback. Condizione libro: New. Language: English . Brand New Book. This ambitious book is about a way of building that for centuries dominated the making of monumental architecture - yet now not only is it lost as practice, but knowledge of its very existence is consigned to oblivion. In pre-modern Europe, the architect built not just with imagination, brick and mortar, but with time, using vast quantities of duration to erect monumental buildings that otherwise would have been impossible. Not mere medieval muddling-through, this entailed a sophisticated set of norms and practices. Virtually all the great cathedrals of France and the rest of Europe were built under this regime, here given the name Building-in-Time . In particular, the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan,Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter s - the apotheosis of the practice - are thus cast in an entirely new light. Even as Building-in-Time was flourishing, the fifteenth-century Italian architect Leon Battista Alberti proposed a new temporal regime whereby time would ideally be excluded from the making of architecture ( Building-outside-Time ).Planning and building, which had formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time excluded from architectural facture. Ironically, it was Brunelleschi, as creator of the cupola of Florence cathedral and one of the supreme practitioners of Building-in-Time, who was the lynchpin of Alberti s turn to the arts in the mid-1430s. That he arrived in Florence just at the moment Brunelleschi s dome was being completed was crucial to Alberti s subsequent career in visual culture. Yet his relationship to Brunelleschi was conflicted; first praising and attaching himself to Brunelleschi, later Alberti silently sought to banish him from history s central stage. In telling this story, Marvin Trachtenberg rewrites the history of medieval and Renaissance architecture in Italy and recasts the turn to modernity in new terms, those of temporality and its role in architectural theory and practice.Recovering this lost element of the deep architectural past allows us also to see the present in a new way: that temporality is not any neutral or secondary factor in modern architecture culture, but an epistemic condition that silently affects all production and experience of the built environment. Codice libro della libreria AAH9780300165920

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Descrizione libro Yale University Press December 2010, 2010. Hardcover. Condizione libro: New. This ambitious book is about a way of building that for centuries dominated the making of monumental architecture - yet now not only is it lost as practice, but knowledge of its very existence is consigned to oblivion. In pre-modern Europe, the architect built not just with imagination, brick and mortar, but with time, using vast quantities of duration to erect monumental buildings that otherwise would have been impossible. Not mere medieval muddling-through, this entailed a sophisticated set of norms and practices. Virtually all the great cathedrals of France and the rest of Europe were built under this regime, here given the name 'Building-in-Time'. In particular, the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan, Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter's - the apotheosis of the practice - are thus cast in an entirely new light. Even as 'Building-in-Time' was flourishing, the fifteenth-century Italian architect Leon Battista Alberti proposed a new temporal regime whereby time would ideally be excluded from the making of architecture ('Building-outside-Time'). Planning and building, which had formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time excluded from architectural facture. Ironically, it was Brunelleschi, as creator of the cupola of Florence cathedral and one of the supreme practitioners of Building-in-Time, who was the lynchpin of Alberti's turn to the arts in the mid-1430s. That he arrived in Florence just at the moment Brunelleschi's dome was being completed was crucial to Alberti's subsequent career in visual culture. Yet his relationship to Brunelleschi was conflicted; first praising and attaching himself to Brunelleschi, later Alberti silently sought to banish him from history's central stage. In telling this story, Marvin Trachtenberg rewrites the history of medieval and Renaissance architecture in Italy and recasts the turn to modernity in new terms, those of temporality and its role in architectural theory and practice. Recovering this lost element of the deep architectural past allows us also to see the present in a new way: that temporality is not any neutral or secondary factor in modern architecture culture, but an epistemic condition that silently affects all production and experience of the built environment. In the pre-modern age in Europe, the architect built not merely with imagination, bricks and mortar, but with time, using vast quantities of duration as the means to erect monumental buildings that otherwise would have been impossible to achieve. Virtually all the great cathedrals of France and the rest of Europe were built by this deliberate practice, here given the name 'Building-in-Time.' It places an entirely new light on the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan, Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter's. Even as this temporal regime was flourishing, the fifteenth-century Italian architect Leon Battista Alberti proposed a new one for architecture, in which time would ideally be excluded from the making of architecture ('Building-outside-Time'). Planning and building, which had always formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time was to be excluded from architectural making. Codice libro della libreria 20110304137094

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