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Developing Ambiguity: Idea, Imagination and Michelangelo’s Sketches for the Porta Pia

Developing Ambiguity: Idea, Imagination and Michelangelo’s Sketches for the Porta Pia AbstractFor his last architectural work, the Porta Pia, Michelangelo Buonarotti produced some extraordinary drawings, which this article proposes are the first in architecture’s history to embody the creative potentials of sketching. In them, many ideas coalesce in the same space, resulting in work that is sometimes difficult to decipher. The frequent ambiguity of the marks on the paper resulted in a new role for drawings within the design process, in which the conceptual hold of the intellect is relinquished, at least in part, to be replaced by the activity of sketching itself. The article describes the drawings closely in order to reveal the novelty of this approach within architecture, locating them within the history of architectural drawing and showing their effects on architectural composition. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Architecture and Culture Taylor & Francis

Developing Ambiguity: Idea, Imagination and Michelangelo’s Sketches for the Porta Pia

Architecture and Culture , Volume 7 (2): 22 – May 4, 2019

Developing Ambiguity: Idea, Imagination and Michelangelo’s Sketches for the Porta Pia

Architecture and Culture , Volume 7 (2): 22 – May 4, 2019

Abstract

AbstractFor his last architectural work, the Porta Pia, Michelangelo Buonarotti produced some extraordinary drawings, which this article proposes are the first in architecture’s history to embody the creative potentials of sketching. In them, many ideas coalesce in the same space, resulting in work that is sometimes difficult to decipher. The frequent ambiguity of the marks on the paper resulted in a new role for drawings within the design process, in which the conceptual hold of the intellect is relinquished, at least in part, to be replaced by the activity of sketching itself. The article describes the drawings closely in order to reveal the novelty of this approach within architecture, locating them within the history of architectural drawing and showing their effects on architectural composition.

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References (29)

Publisher
Taylor & Francis
Copyright
© 2020 Informa UK Limited, trading as Taylor & Francis Group
ISSN
2050-7836
eISSN
2050-7828
DOI
10.1080/20507828.2019.1643583
Publisher site
See Article on Publisher Site

Abstract

AbstractFor his last architectural work, the Porta Pia, Michelangelo Buonarotti produced some extraordinary drawings, which this article proposes are the first in architecture’s history to embody the creative potentials of sketching. In them, many ideas coalesce in the same space, resulting in work that is sometimes difficult to decipher. The frequent ambiguity of the marks on the paper resulted in a new role for drawings within the design process, in which the conceptual hold of the intellect is relinquished, at least in part, to be replaced by the activity of sketching itself. The article describes the drawings closely in order to reveal the novelty of this approach within architecture, locating them within the history of architectural drawing and showing their effects on architectural composition.

Journal

Architecture and CultureTaylor & Francis

Published: May 4, 2019

Keywords: drawing; architecture; Michelangelo; Porta Pia; architectural drawing

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