Architecture and Tourism: Perception, Performance and Place by D. Medina Lasansky, Brian McLaren

By D. Medina Lasansky, Brian McLaren

Structure and Tourism examines the connection among tourism and the equipped setting and exhibits how images, movie, and souvenirs were deployed to aid mediate and mythologize particular websites. It additionally explores how vacationer itineraries, habit, and literature aid better cultural goals. Drawing upon case reviews within the usa, Cuba, Ghana, Greece, France, Italy, Libya, Mauritius and Spain, structure and Tourism explores the touristic event, illustration and which means of position inside of particular cultural contexts. From the previous websites of the slave exchange at the Ghanean coast to the city renewal of previous Havana and the honeymoon motels within the Poconos, this publication offers provocative insights into the perform of tourism and the perception of position.

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Because the first monuments to be reproduced as souvenirs were fragments anyway, it made sense to treat them as such. It was in fact taking them out of their modern context that allowed for speculation about what their original ancient contexts might have been. The fragmentation enacted by all souvenirs – the way in which they remove monuments from a cohesive urban environment – had in the case of Rome a particular relationship both to the type of monument being represented and the way that such monuments were studied by architects and early antiquarians.

It defined a canon of Roman monuments that persists today, while also establishing Rome as a historical site of global importance. Indeed, one lingering effect of Rome’s early souvenir industry is the grandiose and often-repeated claim that “This country holds 70 percent of the recognized works of art in the world,” as the author of a recent memoir and accolade of life in Rome enthused (Epstein 2000: 245). The key here is the recognizability of works of art, for this is the legacy of the souvenirs that canonized Rome’s monuments from the sixteenth century on.

The form that duplicate monuments took in the Early Modern period included primarily plaster casts and small bronze replicas of ancient sculptures and printed and painted views of ancient and contemporary art and architecture. Among the first to make a selection of ancient Roman monuments widely available was Sebastiano Serlio, whose Third Book (1540) on architecture included plans, sections, elevations, and views of ancient structures in crisp black-and-white woodcuts. Antoine Lafréry, a Frenchman who immigrated to Rome in the early sixteenth century, published printed maps and views of ancient and modern Rome.

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