« L’architecte doit être le metteur en œuvre du monde » : format et métamodèle chez Peter Greenaway
Taking arms against Leon Battista Alberti who in 1435 argued that a window frame was an ideal metaphor to describe the world as seen by an observer, Peter Greenaway insists that his work should not be seen as « a window on the world » but as « a self-conscious and artificial construct ». Where Renai...
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| Format: | Article |
| Language: | English |
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Université de Bourgogne
2021-12-01
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| Series: | Interfaces |
| Subjects: | |
| Online Access: | https://journals.openedition.org/interfaces/3669 |
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| Summary: | Taking arms against Leon Battista Alberti who in 1435 argued that a window frame was an ideal metaphor to describe the world as seen by an observer, Peter Greenaway insists that his work should not be seen as « a window on the world » but as « a self-conscious and artificial construct ». Where Renaissance artists managed to produce the illusion of depth by rendering pictorial convention invisible – thanks to the universal adoption of the theory and practice of perspective – Greenaway chooses to foreground the artificial and arbitrary nature of the formats with which he works. He sees his role less as a filmmaker or visual artist than as an architect whose output is not a portrait of an external reality but the construction of a world that, while self-consciously artificial and therefore freed from dependence on the abandonment of disbelief, is capable of enveloping the viewer. Greenaway likes to say that architecture spares no one: he conceives cities as Memory Theatres which feature architecture functioning as a metamodel. For him, architecture is a symbolic construct representing the human intellect at play the world and, as such, a format that empowers mankind. |
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| ISSN: | 2647-6754 |