Gilbert, D. (2010) (‘The Three Ages of Aerial Vision’ in The London Journal 35(3), 289-99) argues
that there are 3 stages in the development of an iconography of ‘aerial vision’
(291ff):
1.
A view of ‘topographical and built form’ of
place that is as much inspired by imagination as observation, since the view
itself cannot be realised, even after balloon flight.
2.
A view comprised by aerial photography (typified
by Aerofilms Ltd.). These were closely linked to strategic military opportunities
and to ‘camouflage’ defence operations.
3.
After the advent of 3-D static and kinetic visualizations
of the environment from all angles and perspectives, including high above, enabled
by digitisation of photographic data can allow the viewer to play with views
obtained and their kinetic sequencing of zoomscapes. (293)
POWER
Both 1 & 2 lend themselves to being scenes with an
Apollonian vision – hence not only emphasising height above (and the rarity and
elitism (and divinity) of that view) but the coherence, order, organization and
legibility of what is seen (check 298). Such a view is also the view of ‘power’ from a tower top –
Panopticon, symbolic order of the phallus.
In 3 the use of aerial view as an ‘exercise pf power’ may
still persist but it is countered by a Dionysian playfulness that moves between
and obfuscates boundaries and binaries – up/down etc. – and is pleasurable,
playful, resistant & disruptive (297) It is available too from the ‘London
Eye’. Hence exercise of power is offset by disruptive revolt that side-lines
the importance of new divinities like power & wealth. The view is no longer
owned by the penthouse.
Gilbert jumps from this to seeing democratic potential in the
aerial vision of the 3rd age.
3.4.1
Daniels, S. (1993) – provided – looks at the ways in which
Prince Charles in the early 1990s privileged a view of how London should be
viewed that he found in Old Master townscapes, especially Canaletto’s in the Royal
Collection. As a monarch in waiting, he appropriates not only the sense of
elitist ownership associated with aristocracy & monarchy but also of the Apollonian
vision as Gilbert might call it. In Canaletto’s The Thames from the Terrace of Somerset House, the City in the Distance
(1746-51) he instantiates the relations of divinity, clerisy and the
mercantile commonwealth – the City of London and the vessel-plied Thames to be
one that is ordered and hierarchical with God in command. This derives from perspectival
tricks to enhance the relative size of St. Pauls in the view that Charles
ignores. This may be the past but is a past – a heritage indeed – that must
(like the Monarchy we assume) be preserved.
This is linked to the shifting iconographical meanings of
St. Pauls as a restored church, divinity and city landmark (Resurgam) that was
also used in photos of St Pauls during the Blitz. It is a Ship of State on the
Thames and betokens the God-given (if achieved by mercantile means) Empire in
building under God in the Eighteenth Century.
Even after the 2WW St Pauls becomes iconic for various
shifting reasons such as a democratic and perhaps socialist vision uniting classes
as well as urban & rural. This maintained in the 1960s where it becomes a ‘quintessentially
English’ icon and sets the standard for a national skyline, silhouette, focal
point, and standard of height aspiration compared to other lesser buildings.
The birth of Starchitecture however aligns Wren’s original
creative vision with stars and starlets who see themselves as like him – Richard
Rodgers (a ‘socialist’ Lord) and Norman Foster.
Conservation & Tall Buildings: A844 Block 1 Sec 3 Exercises 3.2.1, 3.4.1,
Conservation & Tall Buildings: A844 Block 1 Sec 3 Exercises 3.2.1, 3.4.1,
3.2.1
Gilbert, D. (2010) (‘The Three Ages of Aerial Vision’ in The London Journal 35(3), 289-99) argues that there are 3 stages in the development of an iconography of ‘aerial vision’ (291ff):
1. A view of ‘topographical and built form’ of place that is as much inspired by imagination as observation, since the view itself cannot be realised, even after balloon flight.
2. A view comprised by aerial photography (typified by Aerofilms Ltd.). These were closely linked to strategic military opportunities and to ‘camouflage’ defence operations.
3. After the advent of 3-D static and kinetic visualizations of the environment from all angles and perspectives, including high above, enabled by digitisation of photographic data can allow the viewer to play with views obtained and their kinetic sequencing of zoomscapes. (293)
POWER
Both 1 & 2 lend themselves to being scenes with an Apollonian vision – hence not only emphasising height above (and the rarity and elitism (and divinity) of that view) but the coherence, order, organization and legibility of what is seen (check 298). Such a view is also the view of ‘power’ from a tower top – Panopticon, symbolic order of the phallus.
In 3 the use of aerial view as an ‘exercise pf power’ may still persist but it is countered by a Dionysian playfulness that moves between and obfuscates boundaries and binaries – up/down etc. – and is pleasurable, playful, resistant & disruptive (297) It is available too from the ‘London Eye’. Hence exercise of power is offset by disruptive revolt that side-lines the importance of new divinities like power & wealth. The view is no longer owned by the penthouse.
Gilbert jumps from this to seeing democratic potential in the aerial vision of the 3rd age.
3.4.1
Daniels, S. (1993) – provided – looks at the ways in which Prince Charles in the early 1990s privileged a view of how London should be viewed that he found in Old Master townscapes, especially Canaletto’s in the Royal Collection. As a monarch in waiting, he appropriates not only the sense of elitist ownership associated with aristocracy & monarchy but also of the Apollonian vision as Gilbert might call it. In Canaletto’s The Thames from the Terrace of Somerset House, the City in the Distance (1746-51) he instantiates the relations of divinity, clerisy and the mercantile commonwealth – the City of London and the vessel-plied Thames to be one that is ordered and hierarchical with God in command. This derives from perspectival tricks to enhance the relative size of St. Pauls in the view that Charles ignores. This may be the past but is a past – a heritage indeed – that must (like the Monarchy we assume) be preserved.
This is linked to the shifting iconographical meanings of St. Pauls as a restored church, divinity and city landmark (Resurgam) that was also used in photos of St Pauls during the Blitz. It is a Ship of State on the Thames and betokens the God-given (if achieved by mercantile means) Empire in building under God in the Eighteenth Century.
Even after the 2WW St Pauls becomes iconic for various shifting reasons such as a democratic and perhaps socialist vision uniting classes as well as urban & rural. This maintained in the 1960s where it becomes a ‘quintessentially English’ icon and sets the standard for a national skyline, silhouette, focal point, and standard of height aspiration compared to other lesser buildings.
The birth of Starchitecture however aligns Wren’s original creative vision with stars and starlets who see themselves as like him – Richard Rodgers (a ‘socialist’ Lord) and Norman Foster.
For 3.5.1 See Open Studio.