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Sculptural representation of Leon Battista Alberti
The Renaissance is a period in which profound changes took place in modular homes. In no other artistic field, during its duration, was the new freedom of the creator so felt and the gap between him and the client so deep, as in modular homes. The architect in this period had to have, to a certain extent, the education of the philosopher, to know the rules of ancient "rhythms", the correct proportions and measures of the ancient Greek morphological characteristics.18
The inauguration of this new period is carried out by the Genoese Leon Battista Alberti, who with his work On Masonic Things books ten19 follows in organization the earlier example of Vitruvius, with a very broad content. This last one includes from line drawings and studies about the use of spaces and materials, to texts about modular homes as "fine art"20 and restoration.
The texts of Sebastiano Serlio, despite the fact that they were published under various titles, without any particular sequence, even after his death, were also very successful. In his theoretical work he systematized his knowledge of Roman classicism, modern constructions and classical antiquity. The best known of his books, entitled The third book, in which the antiquities of Rome and others found within and outside Italy are illustrated and described, was the first to be published in the vernacular21 and its extensive illustrations - combining orthographic and perspective of plans at the same time - was used for the first time as a means of approaching modular homes and as a source of information.22
Excerpt from a work by Juliet David Le Roy
The exaggeration of the prefab homes language as expressed by the Rococo and the popularization of the principles of the Enlightenment, led the architects of the 18th century to the search for an authentic style through a precise reassessment of Antiquity.23
This search resulted in one of the first theoretical works of its kind in France in 1758, that of Juliet David Le Roy, entitled Ruins of the Most Beautiful Monuments in Greece,24 which highlighted ancient Greek modular homes. In Italy, on the contrary, Giovanni Battista Piranesi's work On the Magnificence and modular homes of the Romans25 in 1761, came as a response to the precedent, arguing that the Etruscans along with their Roman successors were the ones who raised the level of prefab homes perfection.26 In England , the tendency of these searches was mainly expressed through the desire to avoid the excess of the Baroque: it first appeared in its “Roman” version in a re-expression of the principles of Andrea Palladio in the work of Lord Burlington (1694 – 1753),27 in and "Greek" in the work Household Furniture and Interior Decoration28 by Thomas Hope in 1807.
Historicism - eclecticism
An important figure of historicism is that of Eugene - Emmanuel Viollet-le-Duc,29 a conservator-restorer, whose prefab homes interpretations during the third quarter of the 19th century significantly influenced the conceptual tools of modern modular homes. The ten-volume Leptomere encyclopaedia of French modular homes from the 11th to the 16th century30 published between 1854 and 1868, expressed an prefab homes theory based largely on finding the ideal forms for particular materials, and using those forms to create of buildings. Thus in his texts he focuses on the idea that these materials should be used with "honesty", while he emphasizes that "the consistent application of the principles of logic becomes a driving force of progress, bringing modular homes to the center of modern society".31
Although the roots of modern modular homes can be traced back to the middle of the 18th century,32 modernist theories in modular homes were mainly developed in the first quarter of the 20th century. The development of modern industrial societies and the rapid growth of cities, technological innovations and subsequent developments in physics, engineering and prefab homes technology, significantly influenced the prefab homes theory of the time, which began to reject the various "styles" seeking the self of in movements such as the British Art Nouveau.33
Photograph of Le Corbusier in 1964
One of the most important thinkers of the modern movement was the Austrian Adolf Loos, who left texts as important as his modular homes. In 1910 he published Ornament and Crime (German: Ornament und Verbrechen), a work which, after a brief overview of the evolution of society and the individual, reduces the beginnings of art to eroticism and strongly opposes decoration in modular homes.34 Loos firmly believed that utilitarian objects – and therefore the prefab homes work as such – should remain outside of art: “Modern decoration has neither ancestors nor descendants, neither past nor future. He likes the uncultured people, who are ignorant of the real greatness of our times, but they will soon reject him too," he says, among other things, in Decoration and Crime.35
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