A Companion to Roman Architecture (Blackwell Companions to by Roger B. Ulrich, Caroline K. Quenemoen

By Roger B. Ulrich, Caroline K. Quenemoen


A better half to Roman Architecture provides a finished overview of the serious concerns and techniques that experience remodeled scholarly realizing in contemporary a long time in a single easy-to-reference volume.

• bargains a cross-disciplinary method of Roman structure, spanning expertise, background, artwork, politics, and archaeology;
• Brings jointly contributions via prime students in architectural history;
• an important consultant to fresh scholarship, protecting new archaeological discoveries, lesser recognized constructions, new applied sciences and area and construction;
• comprises large, updated bibliography and word list of key Roman architectural terms.

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Both projects—not alone but in their coupling with the object of their architectural affection (or disaffection) and interdependence— address themselves to the viewer in such a way that the viewer doubles and develops the temporary multiple confounding mediums 49 22. Rachel Whiteread, Psycho Building: Artists Take on Architecture, 2006/2008. Installation view. The Hayward, London 50 personality order that comes with the nonlinguistic consciousness of a sleepwalker. These works are not critical of architecture, in the manner of Rachel Whiteread or Hirschhorn, who both use buildings’ ties with authority and capital as a foil, but rather share enough with architecture that the feedback between the two mediums is productive (fig.

Architecture’s history of interaction with other mediums is a long and complex story of intimacy and separation, power and control, but it is also a history that has repeatedly played a central role in the discipline’s advancement. From perspective and painting in the fif- 12. Pipilotti Rist, Youghurt on Skin— Velvet on TV, 1994. Audio video installation, view at Neue Galerie Graz/AT confounding mediums 35 teenth century to performance art and pneumatics in the 1960s, medium specificity has remained current as a question and architecture has remained projective as a discipline by detouring through medium alterity.

Projected images break the planes of a building into parts that never come together again to compose an envelope. While it is possible to see a building’s cladding through translucent images, they also add matter to a building envelope, thickening it rather than dematerializing it with luminosity. The viewer cannot choose to see only the material of a building surface or the image as in a gestalt figure/ground, but must see both simultaneously. Face and facade are superimposed but desynchronized, confounding the viewer’s perceptual capacity to distinguish between the material and representational strata of the facade.

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