The Plan as Eidos: Bramante?s Half-Drawing and Durand?s Marche

ABSTRACTBy confronting Bramante?s plan for St Peter Basilica (1503) with Durand?s ?Method of Composition? - summarized in his Marche plate (1802) - a modern conceptualisation of the plan unfolds which can be explained through the philosophical notion of eidos: the Greek term for ?idea?, ?form? and ?...

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Main Author: Celed?n, Alejandra
Format: Artículo
Language: Español
Published: 2015
Subjects:
Online Access: http://revistas.ucr.ac.cr/index.php/revistarquis/article/view/16959
http://hdl.handle.net/10669/13723
Summary: ABSTRACTBy confronting Bramante?s plan for St Peter Basilica (1503) with Durand?s ?Method of Composition? - summarized in his Marche plate (1802) - a modern conceptualisation of the plan unfolds which can be explained through the philosophical notion of eidos: the Greek term for ?idea?, ?form? and ?type?. Beyond its role as representation, and as system of projection, these drawings set forth a function as communication, and furthermore, as organisation of a larger entity than the drawings themselves. Between these two moments, developments in the natural sciences and the project of the encyclopaedia are crucial to the formation of the idea of the plan.A descriptive (and ekphrastic) nature is behind Bramante?s half-plan drawing, what Durand systematized under his method of composition (marche) locating the plan as the site for abstraction where the essential and typical form of an idea ought to emerge. The drawing of a plan becomes a metonymic process that makes visible the essential and fundamental organizing principles of its form and which arise from the operations undertaken within the plan itself, as opposed to external or metaphorical references. From Bramante to Durand the plan reveals its diagrammatic and typological nature, which allowed escalating from the scale of architecture to that of the city. These ways of discussing the plan enable to frame its potential in mediating the world of architectural objects and the larger scale of the city and the territory, a narrative that not only constructs certain archaeology of the plan, but also questions the relationship between drawing and particular modes of thinking and production of the discipline.?RESUMENAl confrontar el plan de Bramante para la Bas?lica de San Pedro (1503) con el ?M?todo de Composici?n? de Durand - resumido en su dibujo Marche (1802) - emerge una conceptualizaci?n moderna de la Planta, la cual se explica a trav?s de la noci?n filos?fica de eidos: el t?rmino griego para referir a ?idea?, ?forma? y ?tipo?. M?s all? de su funci?n como representaci?n, y como sistema de proyecci?n, estos dibujos exponen una comunicativa, y m?s a?n, organizativa de una entidad mayor que los dibujos mismos. Entre estos dos momentos; los desarrollos en las ciencias naturales y el proyecto de la enciclopedia son cruciales para la formaci?n de la idea de la planta. Un car?cter descriptivo (y ecfr?stico) est? detr?s de la media-planta de Bramante, lo que Durand sistematiz? bajo su m?todo de composici?n (marche) ubicando la planta como el sitio para la abstracci?n, donde la forma esencial y t?pica de una idea debe emerger. El dibujo de la planta se convierte en un proceso meton?mico que hace visibles los principios esenciales y fundamentales de organizaci?n de su forma y que surgen de las operaciones realizadas en la planta misma, en oposici?n a referencias externas o metaf?ricas. De Bramante a Durand, la planta revela su naturaleza esquem?tica y tipol?gica que le permite escalar desde la arquitectura a la escala de la ciudad. Estas maneras de discutir la planta permiten encuadrar su potencial en la mediaci?n del mundo de los objetos arquitect?nicos y la escala m?s grande de la ciudad y el territorio; una narrativa que no s?lo construye cierta arqueolog?a de la planta, sino que tambi?n cuestiona la relaci?n entre el dibujo y los particulares modos de pensar y producir de la disciplina.?