The Dissertation:An Architecture Students Handbook(Second Edition)Dissertation Excerpts.pdf
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1、 7Dissertation Excerpts The dissertations contained here are all prize-winning submissions from architectural students around the world. Extremely varied in subject mat- ter, approach and tone, they are nonetheless all exemplary examples of how good a dissertation can be, when pursued with verve, cr
2、eativity and rigour. In most cases we have selected just one part of the dissertation usu- ally one particular chapter along with appropriate introductions, con- clusion and so forth which delineate the overall scope of the research project. Please note that for reasons of copyright, as explained pr
3、eviously, it has not been possible to reproduce in this book all of the illustrations used in the original dissertations. ESJH_TDSC_CH007.qxd 8/31/2005 10:07 PM Page 88 88 Susannah Bach The Barber-Surgeons Anatomy Theatre Combining extraordinarily thorough research in primary archives with exemplary
4、 scholarly presentation, Bachs dissertation is original for its excavation of a now-lost piece of seventeenth-century architecture. More than that, it offers a reinterpretation of this architecture in the light of more modern critical interests of the context of the architecture (such as the body an
5、d architecture) as well as the stated concerns of client and architect. The text reproduced here is part of a reworked and shortened version of the original dissertation, produced for an essay competition and publication. THE BARBER-SURGEONS ANATOMY THEATRE: This frame coagmented for the service of
6、the Soule we have compared to the whole world or universe. Susannah Bach PART I The Barber-Surgeons Anatomy Theatre in an Historical and Intellectual Context The Theater shalbe built according to the plotts drawn by His Majesties Surveigher On 6th April 1638, the Lords of ye privye Counsell it was f
7、ollowed by the anatomy theatre at Leiden, converted from an existing church (1597). Anatomy was increasingly understood to be an important part of knowledge and learning. It became fashionable for the edu- cated lite, courtiers and wealthy merchants to attend anatomies to expand their knowledge and
8、satisfy curiosity, and to provide enter- tainment. The anatomy theatres of Italy and the Low Countries became part of the experience of the English traveller. The diarist John Evelyn recorded visits to Padua in February and Leiden in August 1646.16George Hakewill in 1627 complained on his return abo
9、ut the lack of anatomical demonstrations.17The new anatomy 92The Dissertation 13In Venice, a law of 1386 ordered a month of dissection. Locations included the Church of S Paterniano, the Carmelite monastery, S Stefano and the Frari. 14Alessandro Benedetti (Alexander Benedictus) d. 1512, Anatomice, s
10、ive historia cor- poris humani(1502), trans. Andrew Cunningham, The Anatomical Renaissance(Scolar Press 1997) p 67. 15Court Minutes1 Feb 1568. Annals, p 315. 16Ernest Rhys (ed) The Diary of John Evelyn, p 475ff. 17Ibid. ESJH_TDSC_CH007.qxd 8/31/2005 10:07 PM Page 92 theatres were a register of civic
11、 pride, an index of intellectual advancement for the Citys flourishing cultural and artistic life.18 London needed a permanent anatomical theatre to rival those at Padua and Leiden. It was to be soe necessarie and comendable a worke tendinge to the generall good of the whole kingdome.19 The London M
12、edical Profession and the Public Anatomies On the Continent the new anatomy theatres were university based, but in England it was the professional institutions which were to embark on similar elaborate building programmes. By the late six- teenth century the medical profession in London had separate
13、d into three bodies: physicians, surgeons and apothecaries. The latter two had guilds which assured independence and freedom of operation. The physicians formed their own college and rapidly grew in power over the following century. Despite the assignment of monopoly rights by Charter, there remaine
14、d intense rivalries between the branches of the profession. Complaints and arguments over infringement of the rights were fre- quent occurrences. The Barber-Surgeons jealously guarded their right to the teaching of anatomy. This was particularly important since in 1564 Elizabeth I had granted to the
15、 College of Physicians rights similar to those granted by Henry VIII to the Barber-Surgeons a quarter of a century earlier. The building by the Barber-Surgeons of their anatomy theatre enabled them to assert authority and main- tain their privileges. Subsequently, the Physicians commissioned the age
16、ing Inigo Jones to design an anatomy theatre. The project was entrusted to John Webb on Jones death. The building, com- pleted in 1653, was destroyed in the Great Fire of 1666. Anatomical demonstrations were termed public anatomies because the malefactor was termed a public body. They took place fou
17、r times a year, one for each of the four condemned. Of necessity they coincided with public executions, although generally they took place during the colder months of the year when the body could be preserved more easily and there was less risk of plague. Each public anatomy consisted of three lectu
18、res over three days. Despite intense rivalry between surgeons and physicians, the lecturer, the Reader of Anatomy, was either a Barber-Surgeon or a physician. Attendance was compulsory for all free surgeons including the Master and Wardens as well as the apprenticed surgeons. Guests were often invit
19、ed by the Company to the lectures and sometimes to Dissertation Excerpts93 18J. Sawday, The Body Emblazoned, p 42. 19Indenture of Lease between the Mayor and by and by comes the reader, Dr Tearne, with the Master and company, in a very handsome manner: and all being settled, he began his lecture; an
20、d his discourse being ended, we had a fine dinner and good learned company, many doctors of Phisique and we used with Extraordinary great respect.20 Inigo Jones and Anatomy in the context of contemporary cosmology and theology Inigo Joness skill in numerous fields including architecture, masque maki
21、ng and military engineering led John Harris to describe him as a true uomo universale in the Renaissance mould and perhaps the only man in England who could so be described.21Through his patrons and travels abroad he was attuned to current intellectual thought in Europe and England including scienti
22、fic and anatomical knowledge. He was acquainted with members of the London med- ical profession including William Harvey and Robert Fludd. It is these connections which most probably led to his involvement in the design of anatomy theatres for the two most influential medical establishments. Today t
23、he study of the human body is seen purely within a scien- tific context. By the end of the seventeenth century, the advances of Newton, Locke and other rationalists signalled a transition to scien- tific methodology. There was, however, no abrupt change or break with the past, and at the time of the
24、 building of the theatre anatomy was linked to other disciplines: cosmology, theology and penology. To Inigo Jones anatomy encompassed much more than simply dis- membering the human body. It brought into question the place of the body within, and its relation to, the universe as a whole and aroused
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