Misinterpretation of its actual nature.’ Illusions are often perceivedĪccomplished by stimulating the retina of the eye with elements of Perception of something objectively existing in such a way as to cause Vision, the most essential sense possessed by artists andĪn illusion is ‘something that deceives or misleads intellectually Īrchitects, is vital to turn conceptual forms into reality, or as Marleau. By reintroducing these techniques of the past into contemporary practice they can prove very beneficial by producing enhancing spaces when spatial or economic restraints must be overcome.Ĭonstant battle, where what we may see is not always what we may Sensing and seeing are not automatic processes but depend onĬognitive processes that have been studied by scientists since the time of Descartes. By analysing a compilation of early and contemporary cases of architectural illusionism in two and three dimensions, the methods used to manipulate observers’ perceptions are explored in detail. This paper is a study of these methods employed by artists and architects, focusing on the invention and evolution of the technique of anamorphosis from its birth during the Italian Renaissance. Illusionary methods have been used by ar tists and architects since antiquity, but only during the Renaissance were they scientifically analysed to produce theĪnd their integration with trompe l’oeil. Palazzo Spada, Rome - Francesco BorrominiĬhapel of Notre Dame du Haut, France - Le CorbusierĪBSTRACT Optical illusions have appealed to the mind of spectators throughout history, and have had great impact when combined with architectural elements. Teatro Olimpico, Vicenza - Andrea Palladio Scuola di San Marco, Venice - Tullio Lombar do Santa Maria Presso di San Satiro, Milan - Donato Bramante Andrew Crompton for his direction and encouragement I would like to express my gratitude and thanks to all those who have encouraged and supported me in the course of preparing this dissertation to Elysse Knight, my tutors Sally Stone and Eamon Canniffe, and particularly to my supervisor, Dr. Development.ĪNAMO RPH OSIS, TROM PE L’OEIL AND OTHE R ILLUS IONA RY TECHNIQUES FROM THE ITALIAN RENAISSANCE TO TODAY (3) Further information on the conditions under which disclosures and exploitation may take place is available from the Head of Department of the School of Environment and Development. (2) The ownership of any intellectual property rights which may be described in this thesis is vested in the Manchester School of Architecture, Architecture, subject subject to any prior agreement to the contrary, and may may not be made available for use by third parties without the written permission of the University, University, which will prescribe the terms and conditions of any such agreement. Further copies (by any process) of copies made in accordance with such instructions may not be made without the permission (in writing) of the Author. This page must form part of any such copies made. Details may be obtained from the Librarian. Copies (by any process) either in full, or of extracts, may be made only in accordance with instructions given by the Author and lodged in the John Rylands Library Lib rary of Manchester. (1) Copyright in text of this thesis rests with the author. No portion of the work referred to in the dissertation has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. Y R A Y N A O I D S O U T L O L I T E R C E N H A T S O S I A D N N E A R N L I A I E L O ’ A T L I E E P H T M O M R O T R F, S S I E S U O Q H I P N R H O C E M A T N AĪ dissertation submitted to the Manchester School of Architecture for the degree of Bachelor of Architecture
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