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Assignment 10 (Classwork, Arch 101)

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RENAISSANCE MEMORY1: THE MEMORY THEATRE OF GIULIO CAMILLO The story of Giulio Camillo, the 16 century . fast-talking monk who got the attention of Francis I long enough to have the French king underwrite his project to construct a 'theater' capable of giving the 'user' access to any thought whatsoever , a real case of phantom memory , is covered by Lou Beery Winneker in her admirable dissertation, which includes a translation of Camillo's book (probably the only 'theater' he intended to construct) with a commentary covering Camillo's interest in Kaballa. Whatever happened to the wooden structure that some claimed to have seen is a mystery. Could it have been the prize theft of the count Goethe visits in Sicily? The important things to remember are that Camillo was a reader of Hebrew and a student of the Kaballa and its theory of the soul; Camillo was smart enough not to give away any secrets to the unprepared; Camillo was more than just aware of t
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Architectonics of embodiment When we see the title of the study we imediately think of embodiment as an essential part of the research. Focusing on "The Architectonics of Embodiment" by Vesely. Since the very beginning is stated that the relation of the body to architecture and the complex phenomenon of corporeality have always had a privileged position within the history of European culture. Supporting this statement we have examples of authors regarding Vitruvius period,who compare the human body directly to the body of a building, and all the other authors which have focused and referred to the human body and propotions. The most critical aspect of the role of the body in understanding reality is the relation between the body and that which truly exists.Thereafter, the body is used to designate not only conceptual but also material reality. Referring to Plato we saw that he considered the body not as a given or something that can be isolated or defined as an entit
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