In the Middle Ages Roman ruins were inconvenient impediments to modern life, quarries for pre-shaped blocks for building projects, or of marble to be burnt for agricultural lime, and subjects for satisfying commentaries on the triumph of Christianity and the general sense of the world's decay, in what was assumed to be its last age, before the Second Coming. With the Renaissance, ruins took on new roles among a cultural elite, as examples for a consciously revived and purified architecture all' antica, and for a new aesthetic appreciation of their innate beauty as objects of venerable decay. The chance discovery of Nero's Domus Aurea at the turn of the sixteenth century, and the early excavations at Herculaneum and Pompeii had marked effects on current architectural styles, in Raphael's Rooms at the Vatican and in neoclassical interiors, respectively. The new sense of historicism that accompanied neoclassicism led some artists and designers to conceive of the modern classicising monuments of their own day as they would one day appear as ruins.
Ruin value (German: Ruinenwert) is the concept that a building be designed such that if it eventually collapsed, it would leave behind aesthetically pleasing ruins that would last far longer without any maintenance at all. Joseph Michael Gandy completed for Sir John Soane in 1832 an atmospheric watercolor of the architect's vast Bank of England rotunda as a picturesquely overgrown ruin, that is an icon of Romanticism. Ruinenwert was popularized in the 20th century by Albert Speer while planning for the 1936 Summer Olympics and published as Die Ruinenwerttheorie ("The Theory of Ruin Value").
Ruins remain a popular subject for painting and creative photography and are often romanticized in film and literature, providing scenic backdrops or used as metaphors for other forms of decline or decay. For example, the ruins of Dunstanburgh Castle in England inspired Turner to create several paintings; in 1989 the ruined Dunnottar Castle in Scotland was used for filming of Hamlet. The Civilization series of turn-based strategy computer games features ruins as special tiles which may provide the player with a bonus when explored.
Read more about this topic: Ruins
Other articles related to "aesthetics, aesthetic":
... Lectures on Aesthetics (in German Vorlesungen über die Ästhetik) is a compilation of notes from university lectures on aesthetics given by Georg Wilhelm ... Hegel's Aesthetics is regarded by many as one of the greatest aesthetic theories to have been produced since Aristotle ... Heidegger calls Hegel's Lectures on Aesthetics "the most comprehensive reflection on the essence of art that the West possesses" ...
... Babcock's initials are found on many sketches of Upjohn's, including one church with tower in Upjohn's pattern book Rural Architecture that strongly resembles St ... Andrew's ...
... The term "aesthetics of number" is introduced by Aldo van Eyck in the architectural magazine Forum 7/1959 ... Orphanage in Amsterdam, "Aesthetics of Number", 1960 (Aldo van Eyck) Leicester University Engineering Building, 1963 (Stirling-Gowan) Salk Institute in La Jolla California, 1965 (Louis Kahn ...
... The philosophy of aesthetics as a practice has been criticized by some sociologists and writers of art and society ... Williams argues that there is no unique and or individual aesthetic object which can be extrapolated from the art world, but that there is a continuum of cultural forms and experience of ... Pierre Bourdieu disagrees with Kant's idea of the "aesthetic" ...
Famous quotes containing the word aesthetics:
“For aesthetics is the mother of ethics.... Were we to choose our leaders on the basis of their reading experience and not their political programs, there would be much less grief on earth. I believenot empirically, alas, but only theoreticallythat for someone who has read a lot of Dickens to shoot his like in the name of an idea is harder than for someone who has read no Dickens.”
—Joseph Brodsky (b. 1940)
“What is the use of aesthetics if they can neither teach how to produce beauty nor how to appreciate it in good taste? It exists because it behooves rational human beings to provide reasons for their actions and assessments. Even if aesthetics are not the mathematics of beauty, they are the proof of the calculation.”
—Franz Grillparzer (17911872)
“Nothing is beautiful, except man alone: all aesthetics rests upon this naïveté, which is its first truth. Let us immediately add the second: nothing is ugly except the degenerating manand with this the realm of aesthetic judgment is circumscribed.”
—Friedrich Nietzsche (18441900)