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ARCHITECTURE I THEORY I CRITICISM I HISTORY


ATCH

Author(s) Holden, Susan

Title Finding the architecture in Deleuze: Heinrich Wlfflin as a source of Deleuzes


baroque

Date 2007

Source Panorama to paradise: proceedings of the 24th annual conference of the Society
of Architectural Historians, Australia and New Zealand

ISBN 1-920927-55-7

www.uq.edu.au/atch
Finding the Architecture in Deleuze:
Heinrich Wlfflin as a Source of Deleuze's Baroque 1

Susan Holden
School of Geography, Planning and Architecture
The University of Queensland, Australia

Abstract

The work of late-twentieth-century French philosopher Gilles Deleuze has


been the source of much interest in the discipline of architecture in recent
years. Even though Deleuze rarely deals directly with architecture as a
subject matter, his use of evocative spatial language with terms including the
fold, planes of immanence, deterritorialization, and nomadology have
inspired architects and architectural theorists to explore what his philosophy
might offer the discipline.

Another way to think about the relationship between the work of Deleuze and
the discipline of architecture would be to seek a more tangible link to the
discipline's history by contextualizing his philosophical work within a
historiographical framework. More specifically, to investigate the source of
Deleuze's interest in the Baroque that is used to such effect in The Fold to
reinterpret the work of Enlightenment philosopher Gottfried Leibniz.

A significant source for Deleuze's understanding of Baroque form is from


nineteenth-century German art historian Heinrich Wlfflin. While known
primarily as an art historian, Wlfflin developed many of his theories from
studying Baroque churches in Rome, and his work occupies a significant
place in the history of architecture. In reading a selection of Deleuze's texts
published prior to The Fold, it is possible to find several references to
Wlfflin's study of Baroque art and architecture and his ideas about
perception, movement, and affect, and thus to map out an earlier interest in
the Baroque in the work of Deleuze. This paper will offer a survey of such
moments in the work of Deleuze, to address some voids in the historical
context surrounding his texts and to see how they might pertain to
architecture.

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Finding the Architecture in Deleuze

Introduction

The work of French philosopher Gilles Deleuze has been the source of much interest in
the discipline of architecture in recent years among both practitioners and theorists. This
interest parallels others in the discipline concerned with the possibilities of new digital
technologies, non-Cartesian geometries, and morphing forms, and his philosophy is often
used to explain these more formal interests. 2

Even though Deleuze rarely deals directly with architecture as a subject matter, his use of
evocative spatial language with terms including the fold, planes of immanence,
deterritorialization, and nomadology have inspired architects and architectural
theorists to explore what his philosophy might offer the discipline. The most obvious of
these explorations can be categorized as concerned with the aesthetic, tectonic, and
spatial possibilities of Deleuze's philosophical concepts. 3 Other explorations have been
more concerned with exploring Deleuze's philosophy in relation to creativity, technique,
and the conceptual boundaries of the discipline. 4

The purpose of this paper is not to outline or evaluate the use of Deleuzian philosophy in
architecture. However, it will seek to offer one explanation for its popularity by seeking a
more tangible link to the disciplines history and by contextualizing Deleuzes philosophy
within a historiographical framework; and further, to suggest that exploring Deleuzes text
through a historiographical lens reveals another relevance for his work beyond applied
philosophy and folding architecture.

More specifically, this paper will investigate the source of Deleuze's interest in the
Baroque, used to such effect in his book The Fold: Leibniz and the Baroque, 5 to
reinterpret the work of Enlightenment philosopher Gottfried Leibniz. In The Fold, a
significant source for Deleuze's understanding of Baroque form comes from nineteenth-
century German art historian Heinrich Wlfflin, particularly his analysis of Baroque
architecture in Renaissance and Baroque, 6 first published in German in 1888. While
known primarily as a pioneer in the new discipline of art history, Wlfflin developed many
of his theories from studying Baroque churches in Rome, and his work occupies a
significant place in the history of architecture. In reading a selection of Deleuze's texts
published prior to The Fold it is also possible to find several references to Wlfflins ideas
about perception, movement, and affect that he developed out of his study of Baroque
form and explored in Principles of Art History: The Problem of the Development of Style
in Later Art, first published in German in 1915; 7 and thus to map out an earlier interest in
the Baroque in the work of Deleuze.

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Finding the Architecture in Deleuze

This paper will offer a survey of such moments in the work of Deleuze. It will deal,
specifically with a series of texts published in close succession between 1981 and 1988
that, within their specific projects, reflect on the history of vision and the characteristics of
the historical period referred to as the Baroque. These are, in chronological order, Francis
Bacon: Logic of Sensation, 8 first published in French in 1981 and in English in 2003;
Cinema 1: The Movement-Image, 9 first published in French in 1983 and in English in
1986; Cinema 2: The Time-Image, 10 first published in French in 1985 and in English in
1989; and finally, The Fold: Leibniz and the Baroque, first published in French in 1988
and in English in 1993.

To provide an initial overview, the moments of Wlfflin in Deleuze that are explored in this
essay can be categorized into two different kinds. Firstly, Wlfflin's formal analysis of
Baroque art and architecture and his analytic category the 'malerisch' is used as an
important source in Deleuze's discussions of the historical development of concepts of
vision and their relationship to the psychology of experience in the arts. Secondly,
Wlfflin's descriptions of the Baroque are made use of, one might say appropriated, to
provide an allegorical 'house' for Deleuze's philosophy of the fold.

Francis Bacon: The Logic of Sensation

The first instance of Wlfflin in Deleuze that I will discuss comes from his book Francis
Bacon: The Logic of Sensation that deals with the art of twentieth-century British painter
Francis Bacon (19091992). It is recognized as one of Deleuze's most significant texts
on aesthetics, 11 and arguably marks the beginning of his interest in the Baroque. The
book is as much a development of philosophical concepts about the nature of art as it is
about Bacon's paintings. However, it is clear that Deleuze admires Bacon and sees in his
work a future for modern painting after photography in the way it rejects abstraction and
engages with various 'subjects' of painting, among them figuration, movement, seriality,
and colour. Deleuze makes use of the work of Wlfflin to establish a historical background
to his interest in these qualities in Bacons painting, especially in relation to categories of
vision, and how vision as an analytic category might offer a way to understand the
development of Western art. 12

Deleuze's interest in the relationship between perception and sensation in Bacon's


painting is formulated in relation to the tactileoptical dialectic developed by Wlfflin in his
book Principles of Art History. In this book, Wlfflin develops a series of oppositional
categories, including linear and painterly; plane and recession; closed and open form;

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Finding the Architecture in Deleuze

multiplicity and unity; and clearness and unclearness, that allow him to make a formalistic
analysis of the progression of historical styles between the sixteenth and seventeenth
centuries. For Wlfflin, the 'malerisch' quality (translated variously as painterly and
picturesque) 13 of Baroque art and architecture was distinctly different from the linear
quality of classical art and could be understood as representative of a historical
development in the conceptualization of vision away from tactile vision and towards a
purely optical vision. Movement was a key quality of the 'malerisch' and Wlfflin
developed the idea of the 'picturesque movement-effect', using his experience of
buildings as an example, where the sensation of movement was an effect of the painterly
quality of the work. 14

In Bacon's paintings, Deleuze finds the exploitation of both tactile and optical vision and
thus a dismantling of the oppositional dialectic that interested Wlfflin. 15 However,
Deleuze continues to use formal qualities identified by Wlfflin to describe how Bacon
achieves his effects. In describing an early painting by Bacon titled The Sphinx (1954),
Deleuze observes that the treatment of: the form and the ground as two equally close
sectors lying on the same plane 16 is reminiscent of pre-perspectival representation that
imposes upon the eye a tactile or rather haptic function. 17 At the same time, Bacons
paintings explore optical effects through the rendering of the figure and the use of colour.
These are the ongoing themes in Bacons paintings that Deleuze sees as distinguishing
his 'genius' and demonstrating his exploration of a new relationship between 'haptic' or in
Wlfflins terms, tactile and optical vision. Of Bacons use of colour, he says: Are there
not two very different kinds of gray, the optical gray of blackwhite and the haptic gray of
greenred? 18 Here he draws on Wlfflin's observation of the way colour can have
relations of value as well as relations of tonality and can thus operate in both the tactile
and optical realm. 19

Similarly, Wlfflins interest in the effect of movement is shared by Deleuze in his analysis
of Bacons ability to capture the feeling of the absence of movement. While Wlfflin finds
in Baroque architecture an 'embodied' movement, Deleuze finds Bacon more interested
in the drama of the still body and the effect of the implied movement on it. 20

Cinema 1 and Cinema 2

The next two instances of Wlfflin in Deleuze that I will discuss are found in his books on
cinema in which he elaborates two unique qualities of modern cinema, the movement-
image that is constituted through the various possible movements of the camera but also

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Finding the Architecture in Deleuze

in the technique of montage; and the time-image through which cinema is able to engage
with the virtuality of time and of the past. In both of these volumes Deleuze again draws
on Wlfflin's formal categories described in Principles of Art History, in this case his
dialectic of planar and recessional composition, to discuss the quality and effect of depth
in the cinematic image and his analysis of the portrait as a way of understanding the
close-up in cinema.

Depth-of-field

In The Movement-Image Deleuze distinguishes between a number of different types of


shots that together constitute the way cinema achieves movement and duration. One of
these is the long duration fixed or mobile shot or sequence shot that utilizes depth as a
technique to unify the representation of different spaces and their associated narrative or
symbolic effect, within one shot. 21 For Deleuze, the use of depth in modern cinema
represents a significant progression from 'primitive' cinema. He makes a comparison
between this advance in the cinematic image and the evolution of depth between
sixteenth- and seventeenth-century painting, where
a superimposition of planes each of which is occupied by a specific scene and
where characters meet side by side is replaced by a completely different
vision of depth, where characters meet obliquely and summon each other
from one plane to the other. 22

Deleuzes observations here are directly informed by Wlfflin's analysis in Principles of


Art History where he makes a comparison of two paintings of Adam and Eve, by Palma
Vecchio (1504) and Tintoretto (c1550), to demonstrate this development in the
representation of depth. Wlfflin draws our attention in the Tintoretto to the sense of
movement generated across the foreground and background by the diagonal spatial
relationship between Adam and Eve and its continuation in the recession of the
landscape. 23

For Deleuze, this freeing of depth in the cinematic image leads to a corresponding
freeing of its relationship to time and is critical in the development of what he calls the
time-image in modern cinema. He says:
As long as depth remained caught in the simple succession of parallel planes,
it already represented time, but in an indirect way which kept it subordinate to
space and movement. The new depth, in contrast, directly forms a region of
time, a region of past which is defined by optical aspects or elements
borrowed from interacting planes. 24

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The film Citizen Kane (1941) by Orson Welles is given as an example of the use of depth
of field to create the time-image. In discussing the scene that depicts the attempted
suicide of Susan Alexander, he notes that Welles is able to simultaneously represent
narrative events in the one frame by exaggerating the scale difference between
foreground and background while maintaining a consistent depth of field. He describes
the resulting composition as having a baroque quality:
The volume of each body overflows any given plane (plan), plunging into or
emerging from shadow and expressing the relationship of this body with the
others located in front or behind: an art of masses. The term 'baroque' or neo-
expressionism is literally appropriate. 25

The scene that Deleuze describes is known as an 'in-camera matte shot'. Technically, it
achieves an extreme deep-focus effect by shooting the foreground of the scene with the
background in darkness, then rewinding the film and re-shooting the scene with the
background action and the foreground darkened. 26

For Deleuze, the effect of spatial movement described by Wlfflin in the composition of
Tintorettos painting is exceeded in the cinematic image to become a movement in time:
The screen itself is the cerebral membrane where immediate and direct
confrontation takes place between the past and the future, the inside and the
outside, at a distance impossible to determine, independent of any fixed point
... The image no longer has space and movement as its primary characteristic
but topology and time. 27

The Close-up

Deleuze's discussion of the close-up or the affection-image is another moment where he


makes use of Wlfflins dialectic of the linear and the painterly, particularly Wlfflins
analysis of these qualities in the portrait in Principles of Art History, in this case to
describe the uniqueness of the affection-image in modern cinema.

In the cinema, the close-up represents the possibility of affect, to be moved, in an


otherwise still image or shot. In the close-up, epitomized by the face, it is possible to
register on the one hand the unity of facial features (identity) and expression in the still
face that looks out at us, and on the other the intensive micro-movement of the face that
is moved to express something. The face, Deleuze says, is this organ-carrying plate of
nerves which has sacrificed most of its global mobility and which gathers or expresses in

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Finding the Architecture in Deleuze

a free way all kinds of tiny local movements which the rest of the body usually keeps
hidden. 28

The distinction made by Deleuze between faceification, the wondering face that bares
witness, and faceicity, the feeling face that expresses experience, both of which
constitute the affection-image in cinema, 29 is directly informed by Wlfflin's dialectic of the
linear and painterly, 30 demonstrated through an analysis of two portraits in Principles of
Art History, one by Albrecht Drer, Portrait of B. van Orley, Dresden (1521) and one by
Frans Hals, Portrait of a Man (otherwise known as From the Tour, c.158283). For
Wlfflin, the Drer appeals to the tactile senses: [t]hings and appearance fully co-incide,
[and] [t]he close view yields no other picture than the distant view. 31 In Hals, in contrast:
The close view and the distant view diverge A very close view is senseless
The rough, furrowed surfaces have lost any possibility of comparison with
life. They appeal only to the eye, and are not meant to appeal to the senses
as tangible surfaces. The old form-lines are destroyed. No single stroke can
be taken literally. The nose twitches, the mouth quivers, the eye twinkles. 32

Wlfflin's earlier writing about 'Einfhlungstheorie' or empathy theory in his doctoral thesis
titled Prolegomena to a Psychology of Architecture, originally published in 1886, 33 in
which he draws from Charles Darwin's theory of the affect of facial expressions to explain
the affecting quality of the movement embodied in Baroque art and architecture, are also
pertinent here. 34 Deleuze uses a similar theory of affect to formulate the stillness and
movement of the close-up of the face described by Wlfflin into a theory of the affection-
image in cinema. 35

The Fold

The last instance of Wlfflin in Deleuze that will be outlined here, and probably the most
familiar to an architectural audience, is found in The Fold. It is the most architectural, both
in its evocative spatial imagery, but also in the way Deleuze literally uses architecture, the
Baroque church, to give an allegorical form to his philosophical concept. It has also been
the most widely influential for the discipline since the publication of the first chapter of The
Fold, Pleats of Matter in the AD publication Folding in Architecture, 36 edited by Greg
Lynn, first published in 1993, and then reprinted with a new introduction in 2004.

The Fold attempts to show the relevance of the work of Enlightenment philosopher
Gottfried Leibniz for the contemporary world. The originality of Deleuze's interpretation

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Finding the Architecture in Deleuze

comes from his association of Leibniz's philosophy on matter and perception, with the
formal qualities of the Baroque, of which Deleuze sees the fold as the primary trait, 37 and
particularly with Leibnizs concept of the 'monad, which is used to explain the
transmission of information between the sensing body and the knowing soul. 38

In The Fold, Deleuze develops an image of what he calls the allegory of the baroque
house as a way of clarifying the difficult concept of the fold. In doing so he makes direct
use of the formal descriptions of Baroque architecture developed by Wlfflin. An
extended quote from The Fold reads as a condensed version of Wlfflin's analysis from
his book Renaissance and Baroque, and demonstrates the importance of this source for
Deleuze:
Wlfflin noted that the Baroque is marked by a certain number of material
traits: horizontal widening of the lower floor, flattening of the pediment, low
and curved stairs that push into space; matter handled in masses or
aggregates, with the rounding of angles and avoidance of perpendiculats; the
circular acanthus replacing the jagged acanthus, use of limestone to produce
spongy, cavernous shapes, or to constitute a vortical form always put in
motion by renewed turbulence, which tends to spill over in space, to be
reconciled with fluidity at the same time fluids themselves are divided into
masses. 39

Deleuze goes so far as to illustrate his baroque house with a diagram (which appears
as a sketch in the first French edition). The diagram is simultaneously a plan, section, and
elevation and resembles several photographic and drawn illustrations of churches in
Wlfflin's books that illustrate both a plan and an elevation, or a three-dimensional sketch
in the one frame. The main point here is that Deleuze's philosophy clearly benefits from
the architectural structure of the Baroque church described and illustrated by Wlfflin,
especially as it allows Deleuze to advance Leibnizs understanding of the soul and his
theory of the monad as a windowless soul by adding another storey to the construction,
to account for the relationship between the body and the head.

Anthony Vidler provides a good outline of how Deleuze's baroque house is built up from
Leibnizs description of what goes on in the brain from perception to understanding, which
was in turn a response to British philosopher John Locke's idea of the brain as a camera
obscura. Leibniz extends Locke's dark room metaphor for discernment by adding a
screen that is under continuous vibration and has both an active and a reactive force. To
this windowless soul room Deleuze adds a lower storey, a bodily anteroom. 40 The

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tangibility of the baroque house thus provides both an evocation and a grounding for
Deleuze's philosophy.

Deleuze draws particularly on two formal qualities of Baroque architecture observed by


Wlfflin to make these philosophical distinctions. The windowless upper room,
representative of the autonomy of the monad (the inside without an outside) 41 is
explained by the disjunction between the facade and the interior identified by Wlfflin in
the Baroque church: In the hands of the baroque architects the facade becomes a
magnificent show piece, placed in front of the building without any organic relationship
whatever with the interior. 42 Similarly, Deleuze's distinction between the two floors is
explained by Wlfflin's description of the two major tendencies of movement in the
Baroque interior: Above all it conveyed an impression of movement, by seeming to be
ever in a state of new formation, so much so that given certain proportions it seemed
actually to rise upward. 43

It is interesting to note that contemporary French philosopher and architect Bernard


Cache also makes reference to Wlfflin in his Earth Moves, 44 cited by Deleuze as an
unpublished manuscript in The Fold. Although not published until 1995, Earth Moves was
prepared as a manuscript in 1983, five years before The Fold was published. 45 Reading
Earth Moves, it is clear that Cache and Deleuze were engaging with similar ideas and
sources and possibly exchanging ideas around this time, in the context of the Deleuze's
seminar in Paris, which Cache attended. 46 So it is possible that Deleuze's interest in the
Baroque, especially its architectural expression, also came from this exchange.

If the formal qualities of Wlfflin's Baroque architecture are interpreted, as Vidler and
others have suggested, as symbolic of a new psychology of the body, 47 then, in
Deleuze's translation of Wlfflin, outside of an appreciation of its historiographical context,
the Baroque undergoes a double remove, becoming an allegory of an allegory that shows
that Deleuze is putting architecture in the service of philosophy in a similar way to folding
architecture has appropriated Deleuzes philosophy to explain its otherwise formal
interests in mathematics and digital technology. 48

Conclusions

Obviously Wlfflin is not the most important source in understanding The Fold or
Deleuzian philosophy, nor is finding the source of Deleuzes interest in the Baroque
supposed to offer a more correct genealogy for architects interested in Deleuzian

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philosophy. However, outlining the relationship between Wlfflin and Deleuze does help
explain why Deleuzes philosophy has been popular and influential by suggesting that its
assimilability to architectural theory can be explained by its base in architectural history.
This historiographical exercise also reveals several other points that should bear on a
proper understanding of the work of Deleuze and on the way his work is considered in the
discipline.

Firstly, by way of clarifying the chronology, it is possible to suggest that Deleuze's


investigations into painting and cinema that precede The Fold, and through which he
became familiar with Wlfflin's work, made the Baroque and in particular the Baroque
church available for Deleuze's appropriation in his philosophy of the fold, which was
published later.

Secondly, clearly articulating the background to Deleuze's philosophy (which can


otherwise be somewhat hidden) highlights the importance of acknowledging the historical
context surrounding his work generally, and in particular of considering the role of the
period of German aesthetic theory, of which Wlfflin was an important part, in the
development of contemporary ideas about space and vision.

Lastly, while the example of the fold highlights the difficult relationship that exists
between architecture and philosophy, it also reveals a missed opportunity for the
discipline that could be found in seeking a critical reading of Deleuze that extends beyond
the fold and acknowledges Deleuzes longer interest in concepts of movement,
sensation, and affect. Reading Wlfflin and Deleuze together also reveals that they both
offer interesting ways to understand issues of ongoing concern to the discipline, including
those of time and temporality: the relationship between the time of making, the durational
time of experience, the historical time of reception; and the life-span time of existence;
and how these might bear on our understanding of architecture.

Endnotes

1
This paper has been prepared as part of my PhD research at the University of Queensland under
the supervision of Dr John Macarthur, Dr Andrew Leach and Dr Nicole Sully. I would like to thank
them for their advice in preparing this paper.
2
This point is made by Anthony Vidler in his discussion of the informe in architecture: Anthony
Vidler, Warped Space (Cambridge, MA; London: MIT Press, 2000), vii.
3
Folding in Architecture, first published in 1993, was perhaps the first text to discuss architecture
in relation to Deleuzes philosophy: Greg Lynn (ed.), Folding in Architecture (London: John Wiley
and Sons, 2004). It presents many architectural projects, including several by Peter Eisenman.
Among them, the Rebstock Park Masterplan for Frankfurt, Germany has also been discussed in
relation to Deleuzes philosophy by John Rajchman in Constructions (Cambridge, MA; London:

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Finding the Architecture in Deleuze

MIT Press, 1998). Lynns own work is represented in Folding in Architecture by his Stranded Sears
Tower project. Bernard Cache, a student of Deleuze, explores Deleuzes philosophy in relation to
architectural design processes in Bernard Cache, Earth Moves: The Furnishing of Territories
(Cambridge MA; London: MIT Press, 1995). Other notable projects dealing with folding forms, if
not explicitly with Deleuzes philosophy, include Frank Gehry, Zaha Hadid, and UN Studio.
4
Including: Andrew Benjamin, Time, Question, Fold, AA Files, 26 (1993), 710; Rajchman,
Constructions; Elizabeth Grosz, Architecture from the Outside: Essays on Virtual and Real Space
(Cambridge, MA; London: MIT Press, 2001); Stanford Kwinter, Architectures of Time: Towards a
Theory of the Event in Modernist Culture (Cambridge, MA; London: MIT Press, 2002); Manuel de
Landa, Deleuze and the use of Genetic Algorithim in Architecture, in Neil Leach (ed.) Designing
for a Digital World (London: Wiley Academy, 2002); and Ian Buchanan, Gregg Lambert (eds),
Deleuze and Space (Edinburgh: Edinburgh University Press, 2005).
5
Gilles Deleuze, The Fold: Leibniz and the Baroque (Minneapolis; London: University of
Minnesota Press, 1993).
6
Heinrich Wlfflin, Renaissance and Baroque (Ithaca, NY: Cornell University Press, 1990). First
published in English in 1964.
7
Heinrich Wlfflin, Principles of Art History: The Problem of the Development of Style in Later Art
(New York: Dover Publications, 1950). First published in English in 1932.
8
Gilles Deleuze, Francis Bacon: The Logic of Sensation (London; New York: Continuum, 2005).
9
Gilles Deleuze, Cinema 1: The Movement-Image (Minneapolis: University of Minnesota Press,
1986).
10
Gilles Deleuze, Cinema 2: The Time-Image (Minneapolis: University of Minnesota Press, 1989).
11
Daniel W. Smith, Introduction, in Gilles Deleuze, Francis Bacon: The Logic of Sensation
(Minneapolis: University of Minnesota Press, 2003).
12
Two chapters in the book deal more overtly with the history of Western painting in terms of a
progression of periods or styles and suggest a position for certain qualities of Bacon's work in a
historical trajectory, conceptually if not chronologically: Chapter 5, 'Recapitulative Notes: Bacon's
Periods and Aspects' and Chapter 14, 'Every Painter Recapitulates the History of Painting in His or
Her Own Way'.
13
Several commentators on Wlfflin's work have noted the problem of translating this German
word successfully into English. Most commentators agree that leaving the word untranslated is the
most appropriate acknowledgement of its particular meaning. Deleuze also acknowledges the
historical discussion around the translation of the word and uses the German in his texts. Deleuze,
Francis Bacon, 128 (n 6).
14
Using architecture as an example, he says: Everyone knows that, of the possible aspects of a
building, the frontal view is the least picturesque: here the thing and its appearance fully coincide.
But as soon as foreshortening comes in, the appearance separates from the thing, the picture-
form becomes different from the object-form ... Certainly, in such a picturesque movement-effect,
recession plays an essential part in the impression the building moves away from us. Heinrich
Wlfflin, Principles of Art History, 25.
15
Deleuze, Francis Bacon, 91.
16
Deleuze, Francis Bacon, 86.
17
Deleuze, Francis Bacon, 85.
18
Deleuze, Francis Bacon, 92.
19
Deleuze, Francis Bacon, 91.
20
This idea is elaborated by John Macarthur in a recent essay: Modern Movement: on Some
Issues in the Contemporaneity of Architecture and Image Types, Architecture Theory Review 11:2
(2006), 22.
21
Deleuze, The Movement-Image, 26.
22
Deleuze, The Movement-Image, 26.
23
Wlfflin, Principles of Art History, 76.
24
Deleuze, The Time-Image, 108.
25
Deleuze, The Time-Image, 108.
26
Robert L. Carringer, The Making of Citizen Kane (Berkeley, CA; London: University of California
Press, 1985), 82.
27
Deleuze, The Time-Image, 125.
28
Deleuze, The Movement-Image, 87.
29
Deleuze, The Movement-Image, 88.
30
This observation is also made by Macarthur in Modern Movement, 22.

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31
Wlfflin, Principles of Art History, 43.
32
Wlfflin, Principles of Art History, 43.
33
Heinrich Wlfflin, 'Prolegomena to a Psychology of Architecture', in Harry Francis Malgrave,
Eleftherios Ikonomou, Empathy, Form and Space: Problems in German Aesthetics, 18731893
(Santa Monica, CA.: Getty Centre for the History of Art and the Humanities, 1994), 14990.
34
Malgrave, Ikonomou, Empathy, Form and Space, 43.
35
Macarthur also makes this point: Deleuze takes from Wlfflin, as much as from (Henri)
Bergson, an anthropopathic theory of affect, which goes back to ancient doctrines of mimesis and
was given a modern form by Charles Darwin. Macarthur, Modern Movement, 23.
36
Greg Lynn (ed.), Folding in Architecture (London: John Wiley and Sons, 2004).
37
Tom Conley, 'Introduction', in Gilles Deleuze, The Fold: Leibniz and the Baroque (Minneapolis; London:
University of Minnesota Press, 1993, xi.
38
As clarified by Vidler: The monad ... registers the impulse of the outside world as it does the
inner and innate knowledge with which it is endowed from birth. Vidler, Warped Space, 220.
39
Deleuze, The Fold, 1993), 4.
40
Vidler, Warped Space, 223.
41
Deleuze, The Fold, 28.
42
Wlfflin, Renaissance and Baroque, 93
43
Wlfflin, Renaissance and Baroque, 115.
44
Cache, Earth Moves, 44, 46.
45
Mario Carpo, Ten Years of Folding, in Folding in Architecture, 16. Paul A. Harris, 'To See with
the Mind and Think through the Eye: Deleuze, Folding Architecture, and Simon Rodia's Watts
Towers', in Ian Buchanan, Gregg Lambert (eds), Deleuze and Space (Edinburgh: Edinburgh
University Press, 2005), 37, 59.
46
Harris, 'To See with the Mind and Think through the Eye, 37, 59.
47
Vidler, Warped Space, 221.
48
Mario Carpo makes an interesting observation in his introductory essay that deals with the
history of folding architecture in the revised edition of Folding in Architecture by asking why the
chapter from The Fold on the baroque house was included in the original publication instead of the
one on calculus that was probably more relevant: Mario Campo Ten Years of Folding, in Lynn
(ed.) Folding in Architecture, 15.

Proceedings of the XXIVth International Conference


of the Society of Architectural Historians, Australia and New Zealand Panorama to Paradise 12
Adelaide, Australia 21-24 September 2007

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