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page039from Building Ideaswhich was completed in 1680. His most memorable work was in architectural theory where he questioned the traditional understanding of number, which had, since Vitruvius in the first century AD, been treated as God-given and of sacred significance. The dimensions of the body were seen as the basis for a system of divinely proportional relationship which, like those in music, would guarantee harmony and ensure that a building would be “in tune” with universe. This notion of number as the secret to harmony had been revived during the Renaissance but had never been codified and the conflicts that had grown up between rival systems inspired Perrault to resolve the confusion. In his Ordonnance for the Five Kinds of Columns, published in 1683, he attempted to set out a once-and-for –all number system, by averaging the dimensions put forward by others. In place of the assumption that proportions were absolute and their recognition an innate capacity of the mind, he reduced the whole question to arbitrary convention, based on learned, rather than any God-given standards. The effect of this shift from the divine to the “convenient” continued the revolution that Descartes had begun. By reducing mathematics from theology to engineering, another “instrument” of comprehension had been created for the mind. From this grounding in the techniques of spatial description and the mechanistic explanation of natural phenomena came a whole torrent of new “sciences” during the next hundred years. As Michel Foucault has described in his book The Order of Things, the eighteenth century saw an expansion in research and classification that went a long way to fulfilling Francis Bacon’s great vision. The sciences of botany, geology and paleontology were all born in this period out of the same urge to record and classify. By the end of the century even language and history had begun to be seen as fair game for the sciences, and it is history that proves to be decisive for the progress of the machine-aesthetic in architecture.
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