The Theatricality of the Baroque City

Most historians of baroque architecture agree that it is theatrical' in some way, without describing in detail the festivals and performances that inspired its design. Yet festivals structured public life in most early 18th century European cities, and were a central aspect of what is commonly called the Baroque Unity of the Arts. As festivals became a permanent aspect of city life, the character and morphology of buildings changed too. Facades became explicitly stage-like, transforming civic spaces into theatres. The universal motifs of the niche and portico reveal that baroque buildings were primarily settings for performances. We still sense today the latent drama of these spaces. This book is an attempt to explain why festivals were an essential aspect of baroque culture, and why festive-time' remains crucial for the study and design of cities. This study proceeds from a hermeneutic investigation of the public character of art-experience understood in Hans-Georg Gadamer's terms as Play, Symbol and Festival', towards an interpretation of several gardens and civic spaces designed specifically for festive use, focusing ultimately upon the Zwinger and its use as a Festspielplatz.

Autorentext

Director of Lynch architects, London. He teaches at London Metropolitan University, and was previously a unit master at The Architectural Association. He represented Ireland at the Venice Biennale 2008, and won The Young Architect of the Year Award 2005. He studied at Liverpool University and at Cambridge University.

Klappentext

Festivals structured public life in most of early 18th century cities. Both urban form and buildings changed to accommodate festivals. Facades became spatial. The motif of the niche or stage came to typify the theatricality of city life and sculptures intimated imminent action. We sense still today the latent drama of these spaces. This study is a proceeds from a hermeneutic investigation of art-experience understood in H-G Gadamer's terms as Play, Symbol and Festival, towards an interpretation of several gardens and public spaces designed specifically for festive use, focussing ultimately upon the Zwinger. Throughout history the Zwinger has played a role in establishing the ethical orientation of Dresden within the kingdom of Saxony, with the natural world, and with the city's actual and mythic history. The temporality of human experience of cities achieves its most articulate form in 'festive- time'. This term is established as an analogue of the simultaneously ludic and pragmatic character of artistic endeavours generally, enabling the reconciliation of landscape and urbanity via theatre. The collaborative nature of creativity runs as a leitmotif in this book.