Books by Maarten Delbeke
Exhibition catalogue, edited by Maarten Delbeke, Dirk De Meyer, Bas Rogiers, Bart Verschaffel / ... more Exhibition catalogue, edited by Maarten Delbeke, Dirk De Meyer, Bas Rogiers, Bart Verschaffel /
Exhibition: Museum voor Schone Kunsten (MSK, Museum of Fine Arts), Ghent, 20 Sept 2008 – 18 Jan 2009 /
Book chapters: Dirk De Meyer, Archeologie en inventie: Piranesi kunstenaar, archeoloog, ingenieur, polemist, architect, handelaar / Maarten Delbeke, Roma antica, moderna e sacra: Piranesi en de vedute-traditie / Bart Verschaffel, Piranesi's Carceri: een postscriptum / ...
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In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic... more In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin’s Monument to the Third International and Borromini’s dome for Sant’Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant’Ivo, Borromini accomplished “the movement of the whole pattern […] from the ground to the lantern, without entirely ending even there.” And yet he merely “groped” towards that which could “be completely effected” in modern architecture-achieving “the transition between inner and outer space.”
The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism.
Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.
Contents:
Defining a problem: modern architecture and the baroque, Maarten Delbeke, Andrew Leach and John Macarthur; Engaging the past: Albert Ilg’s Die Zukunft des Barockstils, Francesca Torello; Größstadt as Barockstadt: art history, advertising and the surface of the neo-baroque, Albert Narath; The ‘restless allure’ of (architectural) form: space and perception between Germany, Russia and the Soviet Union, Luka Skansi; Geoffrey Scott, the baroque and the picturesque, John Macarthur; Against formalism: aspects of the historiography of the baroque in Weimar Germany, 1918-1933, Ute Engel; Riegl and Wölfflin in dialogue on the baroque, Evonne Levy; Beyond the Vienna School: Sedlmayr and Borromini, Marko Pogacnik; Pevsner’s Kunstgeographie: from Leipzig’s baroque to the Englishness of modern English architecture, Mathew Aitchison; The future of the baroque, ca. 1945, Andrew Leach; Giedion as guide: Space, Time and Architecture and the modernist reception of baroque Rome, Denise R. Costanzo; Reading Aalto through the baroque: constituent facts, dynamic pluralities, and formal latencies, Eeva-Liisa Pelkonen; Taking the sting out of the baroque: Wittkower in 1958, Andrew Hopkins; Pierre Charpentrat and baroque functionalism, Maarten Delbeke; From spatial feeling to functionalist design: contrasting representations of the baroque in Steen Eiler Rasmussen’s Experiencing Architecture, Anthony Raynsford; From Michelangelo to Borromini: Bruno Zevi and operative criticism, Roberto Dulio; Between history and design: the baroque legacy in the work of Paolo Portoghesi, Silvia Micheli; Steinberg’s complexity, Michael Hill; The ‘recurrence’ of the baroque in architecture: Giedion and Norberg-Schulz’s approaches to constancy and change, Gro Lauvland; The future of the baroque, ca. 1980, Maarten Delbeke and Andrew Leach; Bibliography; Index.
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Editorial by Maarten Delbeke
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Papers by Maarten Delbeke
The Baroque in Architectural Culture, 1880-1980 (pp. 231-237), Sep 8, 2015
The tercentenary commemorations in 1967 of Borromini’s death had demonstrated how an historical s... more The tercentenary commemorations in 1967 of Borromini’s death had demonstrated how an historical subject like the oeuvre of this key figure of the Roman baroque could sustain the attentions of many varied modes of historical analysis. Lectures, exhibits, books, films and many other interventions treated Borromini’s buildings (realized and otherwise), his drawings and inventories (as sources and documents alike), the Opus Architectonicum, secondary historical and biographical accounts and so forth as legitimate historical subjects. They had visited upon them the disciplinary tools of art historians from Rudolf Wittkower to Giulio Carlo Argan alongside new scholarship by those invested in Borromini’s archives, in the restoration of his buildings, in his manner of design, in his reception and in the lessons offered by his work to the present. Borromini emerged from this event as a complex and interdisciplinary historical and biographical subject that could exist in an architectural culture experiencing a watershed moment of disciplinary maturity—a form of détente between conflicting historiographical investments, with the academic and public program of the anno borrominiano demonstrating a format within which these interests could occupy the same corpus. The investment of the architect-historian in such a figure as Borromini was, at this time, as legitimate as that of the art historian specializing in architecture (or, even generally, in the art of the seventeenth century), as was that of the architect practicing (and thinking) in a manner demonstrating his or her cognizance of the present’s historicity. [...]
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Bernini's Biographies. Critical Essays, 251–274, Jan 1, 2006
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Bernini's Biographies: Critical Essays, Jan 1, 2006
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Marburger Jahrbuch für Kunstwissenschaft 32 (2005): 229–56, Jan 1, 2005
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Bulletin de l'Institut historique belge de Rome 70 (2000): 179-223, Jan 1, 2000
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Books by Maarten Delbeke
Exhibition: Museum voor Schone Kunsten (MSK, Museum of Fine Arts), Ghent, 20 Sept 2008 – 18 Jan 2009 /
Book chapters: Dirk De Meyer, Archeologie en inventie: Piranesi kunstenaar, archeoloog, ingenieur, polemist, architect, handelaar / Maarten Delbeke, Roma antica, moderna e sacra: Piranesi en de vedute-traditie / Bart Verschaffel, Piranesi's Carceri: een postscriptum / ...
The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism.
Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.
Contents:
Defining a problem: modern architecture and the baroque, Maarten Delbeke, Andrew Leach and John Macarthur; Engaging the past: Albert Ilg’s Die Zukunft des Barockstils, Francesca Torello; Größstadt as Barockstadt: art history, advertising and the surface of the neo-baroque, Albert Narath; The ‘restless allure’ of (architectural) form: space and perception between Germany, Russia and the Soviet Union, Luka Skansi; Geoffrey Scott, the baroque and the picturesque, John Macarthur; Against formalism: aspects of the historiography of the baroque in Weimar Germany, 1918-1933, Ute Engel; Riegl and Wölfflin in dialogue on the baroque, Evonne Levy; Beyond the Vienna School: Sedlmayr and Borromini, Marko Pogacnik; Pevsner’s Kunstgeographie: from Leipzig’s baroque to the Englishness of modern English architecture, Mathew Aitchison; The future of the baroque, ca. 1945, Andrew Leach; Giedion as guide: Space, Time and Architecture and the modernist reception of baroque Rome, Denise R. Costanzo; Reading Aalto through the baroque: constituent facts, dynamic pluralities, and formal latencies, Eeva-Liisa Pelkonen; Taking the sting out of the baroque: Wittkower in 1958, Andrew Hopkins; Pierre Charpentrat and baroque functionalism, Maarten Delbeke; From spatial feeling to functionalist design: contrasting representations of the baroque in Steen Eiler Rasmussen’s Experiencing Architecture, Anthony Raynsford; From Michelangelo to Borromini: Bruno Zevi and operative criticism, Roberto Dulio; Between history and design: the baroque legacy in the work of Paolo Portoghesi, Silvia Micheli; Steinberg’s complexity, Michael Hill; The ‘recurrence’ of the baroque in architecture: Giedion and Norberg-Schulz’s approaches to constancy and change, Gro Lauvland; The future of the baroque, ca. 1980, Maarten Delbeke and Andrew Leach; Bibliography; Index.
Editorial by Maarten Delbeke
Papers by Maarten Delbeke
Exhibition: Museum voor Schone Kunsten (MSK, Museum of Fine Arts), Ghent, 20 Sept 2008 – 18 Jan 2009 /
Book chapters: Dirk De Meyer, Archeologie en inventie: Piranesi kunstenaar, archeoloog, ingenieur, polemist, architect, handelaar / Maarten Delbeke, Roma antica, moderna e sacra: Piranesi en de vedute-traditie / Bart Verschaffel, Piranesi's Carceri: een postscriptum / ...
The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism.
Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.
Contents:
Defining a problem: modern architecture and the baroque, Maarten Delbeke, Andrew Leach and John Macarthur; Engaging the past: Albert Ilg’s Die Zukunft des Barockstils, Francesca Torello; Größstadt as Barockstadt: art history, advertising and the surface of the neo-baroque, Albert Narath; The ‘restless allure’ of (architectural) form: space and perception between Germany, Russia and the Soviet Union, Luka Skansi; Geoffrey Scott, the baroque and the picturesque, John Macarthur; Against formalism: aspects of the historiography of the baroque in Weimar Germany, 1918-1933, Ute Engel; Riegl and Wölfflin in dialogue on the baroque, Evonne Levy; Beyond the Vienna School: Sedlmayr and Borromini, Marko Pogacnik; Pevsner’s Kunstgeographie: from Leipzig’s baroque to the Englishness of modern English architecture, Mathew Aitchison; The future of the baroque, ca. 1945, Andrew Leach; Giedion as guide: Space, Time and Architecture and the modernist reception of baroque Rome, Denise R. Costanzo; Reading Aalto through the baroque: constituent facts, dynamic pluralities, and formal latencies, Eeva-Liisa Pelkonen; Taking the sting out of the baroque: Wittkower in 1958, Andrew Hopkins; Pierre Charpentrat and baroque functionalism, Maarten Delbeke; From spatial feeling to functionalist design: contrasting representations of the baroque in Steen Eiler Rasmussen’s Experiencing Architecture, Anthony Raynsford; From Michelangelo to Borromini: Bruno Zevi and operative criticism, Roberto Dulio; Between history and design: the baroque legacy in the work of Paolo Portoghesi, Silvia Micheli; Steinberg’s complexity, Michael Hill; The ‘recurrence’ of the baroque in architecture: Giedion and Norberg-Schulz’s approaches to constancy and change, Gro Lauvland; The future of the baroque, ca. 1980, Maarten Delbeke and Andrew Leach; Bibliography; Index.
The conference will take place in the Rijksmuseum van Oudheden at Leiden. The questions it wishes to address include: how do architectural origins relate to questions of architecture’s legitimacy as an artistic and cultural practice in the period under consideration? Why are origins deemed relevant to address these questions? To which particular architectural problems does the question of origins pertain? With which intellectual contexts and debates do architectural theory and practice enter in dialogue through the matter of origins? How do architectural origins relate to the primitivism that is manifest across a wide range of intellectual and artistic practices of the period? How do notions about origins sustained in historiography writ large affect architectural history and ideas about the historicity of buildings?
As the following chapters attest, whether this traffic of ideas was driven by the historian or fostered by the architect, the century leading up to the various postmodern declarations for the new historicism that emerged around 1980 evidences a long process of sifting through historical research and distilling from it moments – be they forms, concepts or models of the architect’s practice and its scope – against which to calibrate the ambitions of architecture across the modern era. By considering the many examples presented here and the sometimes surprising extent of their inter-referentiality and their shared dependence on certain sources – even when put to drastically different uses – this book interrogates an historiographical phenomenon that is widely appreciated but rarely called to account. [...]