Abstract
Los lazos de la moda y el entorno son profundos, tectónica y culturalmente.En la meditación espiritual medieval, la mente era construida en la imagen de una ciudadamurallada, cuyos edificios estaban “vestidos” de comprensión moral; en la Florenciadel Renacimiento, el filósofo Marsilio Ficino recomendaba que los colores planetarios seaplicaran a la vestimenta y como adorno arquitectónico para ayudar a la contemplacióny al buen juicio. Enlazado etimológicamente, nuestros hábitos (abitudine), ropa (abito) yedificios (abitazione) son los adornos reveladores de nuestra mente y nos preparan parala vida cotidiana. El conjunto de artefactos y accesorios que van desde la indumentariahasta la vivienda nutren la imaginación con los ingredientes para la memoria personal ycompartida y la identidad. En este artículo se tendrá en cuenta varios ejemplos históricosy contemporáneos.
Highlights
With the Roman rhetorician Quintilian as his inspiration, the early Renaissance architect Leon Battista Alberti “declared ornatus to be the most important guide for the composition of surfaces,” notes Caroline van Eck, “with decorum as a concluding and covering quality
Art historical practices were deeply influenced by the psychoanalytic methods of Sigmund Freud, whose interpretations of dreams, ancient tragedies and everyday details inspired a legacy of scholars –Warburg, Panofsky, and Gombrich, among others– to evolve iconography as a method to plumb the hidden meanings of an art work
By placing ourselves in others’ shoes, and recognizing with humility that we will achieve at best a close approximation of accuracy, historical research is capable of cultivating empathy for others five hundred years removed from ourselves, discovering stark differences and haunting similarities. Such practices, applied with rigor and imagination, promote empathy with others in the present, five hundred or five thousand kilometers away, inculcating a research and design sensibility that centers on close readings of the techniques du corps of a “period body” (Kirkbride, 2013)
Summary
With the Roman rhetorician Quintilian as his inspiration, the early Renaissance architect Leon Battista Alberti “declared ornatus to be the most important guide for the composition of surfaces,” notes Caroline van Eck, “with decorum as a concluding and covering quality. Art historical practices were deeply influenced by the psychoanalytic methods of Sigmund Freud, whose interpretations of dreams, ancient tragedies and everyday details inspired a legacy of scholars –Warburg, Panofsky, and Gombrich, among others– to evolve iconography as a method to plumb the hidden meanings of an art work.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Cuadernos del Centro de Estudios de Diseño y Comunicación
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
