1. Ruins and Empiricism Romantic Ruminations on Ruination

2. CLASSICISMS GOTHIC BAROQUE MANNERISM PICTURESQUE ROMANTICISM MODERN Italian RENAISSANCE English RENAISSANCE MEDIEVALINDUSTRIAL Rediscovery of Greek Humanist philosophy Rationalism Printing Press EMPIRICISM Knowledge is based on experience 16001700 1800150019001400 1300 15 th Century14 th Century17 th Century18 th Century19 th Century16 th Century13 th Century20 th Century Pre-fabrication, one-size-fits-all Steam Engine

3. 1300S-1400S Religious themes MEDIEVAL ART AND ARCHITECTURE Static or Passive figures; Icons Abstracted representations of spaces = no perspective or = approximate perspective Giotto – Cleansing of the Temple, c. 1266-1337 13 th C Wilton Diptych c. 1395–1399 Architecture is largely on-site construction and continuously added to

4. 1600 15001400 1300 15 th Century14 th Century16 th Century Alberti Brunelleschi RENAISSANCE ART + ARCHITECTURE Designo: “Drawing” Architecture: = drawing a line: Representative, signs = drawing forth an idea: Intellectual exchange Architectural practice becomes removed from the SITE and into the STUDIO Religious + Scientific themes Human emotion and personality Realistic and precise representation of space: = Linear Perspective = Cartesian Representations of space Georgio Vasari: Accademia del Disegno in Florence Nature as a distant backdrop Passive, static Architecture as complete creations from single authors 1563 “Rebirth” of Classical Investigations Fascination with antique Greek ruins and ancient architectural styles as complete forms

5. Raphael - School of Athens, 1511

6. 18 th Century19 th Century 1700 18001900 PICTURESQUE ART AND ARCHITECTURE Insistence on Nature and the Elements -As a prominent, active subject -Specificity of site -On-site paintings Uniqueness of moment; serendipity Depicting Industrialization 1.Painting, drawing 2.Landscaping 3.Architecture Revolt against the concept of indoor Studio-based Disegno Revival of on-site construction 17 th Century Fascination with ruins as they are Lorrain, Seaport with the Embarkation of the Queen of Sheba, 1648 1600 Lorrain, Sunrise, 1646 salvator-rosa_landscape-with-a-dilapidated-bridge, c1615-1673 Poussin, Landscape with St Matthew and the Angel, c1645 Claude Lorrain Salvator Rosa Nicolas Poussin William Kent 1685-1748 GB Piranesi 1720-1778 Sir John Soane 1753-1837 Joseph Gandy JMW Turner 1775-1851 EMPIRICISM: Scientific method: Fact must be based on experience Subjectivity and viewer interpretation -Sensory experience of natural world -Playfulness and Curiousity -Non-linear paths of view Preoccupation with Time and Death

7. Engaging with Nature Imitating natural forms Many potential routes through Experiential Atmospheric Drawings William Kent, 'A view in Pope's Garden at Twickenham with the Shell Temple', c. 1736. William Kent – Landscaper, Architect, painter 1685-1748

8. William Kent – Landscaper, Architect, drawer 1685-1748 Cascade, Chiswick House, Kent, 1730

9. Ruins as present and future conditions, As well as past Ruins as metaphors Piranesi, Verdute di Roma, 1760 Giovanni Battista Piranesi - Architect, Engraver 1720-1778

10. Son of bricklayer Fascinated by ruins and Piranesi’s etchings Post-mortem architectural Legacy – London Phone Booths Sir John Soane - Architect 1753-1837 http://www.culturewhisper.com/event/view/id/3703

11. Sir John Soane - Architect. Collaborator: Joseph Gandy 1753-1837 An imagined view of the Bank of England in ruins, draw in 1830, by Draughsman Joseph Gandy

12. Sir John Soane - Architect. Collaborator: Joseph Gandy 1753-1837 The Mausoleum set in an imaginary landscape, a water colour by George Basevi

13. Atmospheric; Weather Forces of Nature blurred with the forces of development Joseph Mallord William Turner - Painter 1753-1837 JMW_Turner_-_Modern_Rome_-_Campo_Vacino

14. Joseph Mallord William Turner - Painter 1753-1837 JMW_Turner_-_A paddle steamer in a storm