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Abstract
The w o rk s fundam ental concern has an ontological character: to sketch the
problem of the primordial and autonomous significations of the architectural
syntax elements.
The work chooses one of these elements: the window. It starts from the
historical a p pro xim atio n betw een the w indow and a section of the visual
pyramid, an imaginary construction of the renaissantist perspective theory.
The window, in the architectural language, implies in the acknow ledgm ent of an
essential am biguity: the w indow must insert itself in an orderly manner into the
wall's plan - a typical reasoning of the modnature - and at the same time
relate itself with the image seen through it. beyond its own plan, putting in
evidence the three-dim ensionality, heritage of the renaissantist perspective,
fundam ented on the Euclidean space. To see the window or to see through the
w indow are alternatives that are available both to the observer inside the
building as much as to the external one. Double-faced text, the window's sintax
deals with the relationship of both of these sides.
Leonardo da Vinci
Fig. 1
T e m p ie tto d e S a n P ie tro , e m M o n t o r i o ,
A Janela e o Tempietto de Bramante
Roma, por Donato Bram ante
Fig. 3
Desenho realizado sobre a planta do Tem-
pietto, recolhida por Palladio, in I Quattro
Libri, IV.
Fotos: do autor
Fotos 3 e 4
Vistas internas do Tempietto (detalhes)
Fotos: do autor