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DISPLAYING THE BODY:

ANATOMY MUSEUM AND ANATOMICAL EXPRESSIONS IN

ARCHITECTURE

A THESIS SUBMITTED TO

THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF

MIDDLE EAST TECHNICAL UNIVERSITY

BY

ZEYNEP ECE ŞAHİN

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR

THE DEGREE OF MASTER OF ARCHITECTURE

IN

ARCHITECTURE

SEPTEMBER 2020

Approval of the thesis:

DISPLAYING THE BODY: ANATOMY MUSEUM AND ANATOMICAL

EXPRESSIONS IN ARCHITECTURE

submitted by ZEYNEP ECE ŞAHİN in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East

Technical University by,

Prof. Dr. Halil Kalıpçılar

Dean, Graduate School of Natural and Applied Sciences

Prof. Dr. Fatma Cânâ Bilsel

Head of the Department, Architecture, METU

Prof. Dr. Ayşen Savaş

Supervisor, Architecture, METU

Examining Committee Members:

Assist. Prof. Dr. Pelin Yoncacı Arslan

Architecture, METU

Prof. Dr. Ayşen Savaş

Architecture, METU

Prof. Dr. Esin Boyacıoğlu

Architecture, Gazi University

Date: 24.09.2020

iv I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work.

Name, Last name : Zeynep Ece Şahin

Signature :

v

ABSTRACT

DISPLAYING THE BODY:

ANATOMY MUSEUM AND ANATOMICAL EXPRESSIONS IN

ARCHITECTURE

Şahin, Zeynep Ece

Master of Architecture, Architecture

Supervisor: Prof. Dr. Ayşen Savaş

September 2020, 403 pages

Throughout history, architecture and the human body have always been in close contact, affecting, shaping, and altering each other by multifarious means. Just as the human body has been employed as a reference and source of inspiration in architectural practice and theory, the body has also been studied, represented, and communicated in architectural terms. Within this context, going beyond the clichéd body-based analogies in architectural discipline, this study draws attention to the reciprocity of the relations between architecture and the human body and analyzes these relations varying in a wide spectrum from conceptual to practical, from a point of view that focuses on the specific concept of "anatomical display". With the aim of providing a comprehensive understanding on this particular subject, the spaces of anatomical display; visualization and display methods of anatomical objects; and anatomical structure of the human body are analyzed in detail. The "medical gaze" introduced by Michel Foucault in terms of providing a model of perception that has both medical and spatial quality and emphasizing the powerful connection between "seeing and knowing" is a significant concept for this study. In the light of this concept, the emergence and development processes of anatomy museums and vi anatomical theatres and their relation and contribution to the fields of museum and theatre architecture, in general, are examined. Following this research, the relations between architecture, and body are established through the concepts of harmony, space, transparency, cutting and fragmentation. These seemingly simple, yet intrinsically complex concepts are discussed together with binary oppositions such as visible-invisible; transparency-opacity; part-whole, and interior-exterior and explored in different scales and contexts that are mainly, the space of the anatomy museum; the space of the human body; and architectural and theory and practice in a broader sense. Within the theme of "fragments", "dismembering and remembering" is analyzed and defined as a seminal process that takes place in the space of anatomy museum. The idea of "display in fragments" that has been widely employed in anatomical displays, is presented as a new and inspiring method for the display of architecture. The exhibition "Elements of Architecture", curated by Rem

Koolhaas for the 14

th Venice Architecture Biennale is examined within this context. Keywords: Anatomy Museum, Anatomical Theatre, Anatomical Display, Display of

Architecture, Display in Fragments

vii ÖZ

BEDENİ SERGİLEMEK:

ANATOMİ MÜZESİ VE MİMARİDE ANATOMİK İFADELER

Şahin, Zeynep Ece

Yüksek Lisans, Mimarlık

Tez Danışmanı: Prof. Dr. Ayşen Savaş

Eylül 2020, 403 sayfa

Tarih boyunca, mimari ve insan bedeni her zaman yakın temas halinde olmuş,

birbirini etkilemiş, şekillendirmiş ve çok çeşitli yollarla değiştirmiştir. İnsan

bedeninin mimari pratikte ve teoride bir referans ve ilham kaynağı olarak kullanılması gibi, beden de mimari terimlerle incelenmiş, temsil edilmiş ve iletilmiştir. Bu bağlamda, mimari disiplinde klişeleşmiş beden temelli analojilerin

karşılıklılığına dikkat çekerek ve kavramsaldan pratiğe geniş bir yelpazede değişen

hakkında kapsamlı bir anlayış sağlamak amacıyla anatomik sergi alanları; anatomik

detaylı bir şekilde analiz edilmiştir. Michel Foucault'nun ortaya koyduğu "tıbbi

tiyatrolarının ortaya çıkış ve gelişme süreçleri ve bunların daha genel bir çerçevede

müze ve tiyatro mimarisiyle kurdukları ilişkiler ve bu alanlara katkıları incelenir. Bu

viii

araştırmanın ardından uyum, mekan, şeffaflık, kesme ve parçalama kavramları

parça-bütün ve iç-dış gibi ikili karşıtlıklarla birlikte tartışılır ve anatomi müzesinin

mekanı; insan bedeninin mekanı; daha geniş kapsamda mimari ve teori ve pratik içinde "parçalama ve birleştirme/hatırlama" anatomi müzesi mekânında meydana

gelen ufuk açıcı bir olgu olarak tanımlanır ve incelenir. Anatomi sergilerinde yaygın

olarak kullanılan "parçalar halinde sergileme" fikri, mimarlığın sergilenmesi için bağlamda incelenir. Anahtar Kelimeler: Anatomi Müzesi, Anatomi Tiyatrosu, Anatomik Sergileme, Mimarlığın Sergilenmesi, Parçalar Halinde Sergileme ix

To all women who bravely think, speak, and create

x

ACKNOWLEDGEMENTS

First and foremost, I owe my deepest gratitude to my thesis supervisor Prof. Dr. Ayşen Savaş for introducing me to the intriguing world of anatomical displays and their display environments and guiding me throughout the course of this thesis. Any thanks would be an understatement for her stimulating suggestions, illuminating contributions and encouragement. I believe this inspiring journey that we have shared since the Fourth-Year Design Studio has not come to an end. I hope her foresight and peerless knowledge will accompany me in my future studies. I am grateful to Prof. Dr. Güven Arif Sargın who has been a mentor, a role model, and an unconditional supporter to me from my undergraduate years onwards. I would also like to express my appreciation to Prof. Dr. Jale Erzen for guiding me and broadening my horizon during my graduate studies. I owe my intellectual profoundity and architectural skills to the distinguished members of METU

Department of Architecture.

I would also like to thank to my jury members, Prof. Dr. Esin Boyacıoğlu and Assist. Prof. Pelin Yoncacı Arslan for their constructive comments and valuable critics. Without a doubt, I have been blessed with a supportive group of friends. I offer my sincere thanks especially to Cemre Önertürk, who has been a great companion to me through every step of this study. I would like to express my gratitude to my non- biological sisters Emine Esra Nalbant, Derin Deniz Ergun, Sim Üstüner, and Çağla Kuzu for supporting me not only during my thesis writing process but in my entire personal and professional life since high school. I would also like to thank to Sezin Sarıca, Ekin Sancak and Gizem Yetiş for their friendship since the very beginning of my adventure in architecture. Their presence has always been very comforting for me, helping me to overcome any kind of hardships. I am indebted to Buse Kırmaz for her unprecedented support, especially during the time we shared in Madrid. She has always been there for me. I am also grateful to Miya Kane for her help as a native xi English speaker and as a dear friend who provides emotional support whenever I need. I would like to express my heartfelt gratitude to Ege Korkan for his unconditional care and warm encouragement. This thesis would not have been accomplished without his immeasurable support. I will always be thankful for his generosity, kindness, and patience. Last but not the least, I would like to thank to my family, although no words are enough to express my gratitude. I am most thankful to my parents; my mother for inspiring me to become an architect and her endless care; my father for his unconditional love, and insightful guidance. Their limitless tolerance, support and trust means a world to me. Special thanks to my little sister Nehir, for saving me from my worries and making me smile whenever I feel down. I am lucky to have my aunt Prof. Dr. Gülnur Tarhan, who has always supported me in all my endeavors in life. I am also deeply grateful to my dear grandparents for their compassionate encouragement since I was a baby. My graditude never ends. xii

TABLE OF CONTENTS

ABSTRACT .............................................................................................................. v

ÖZ ............................................................................................................................ vii

ACKNOWLEDGEMENTS ...................................................................................... x

TABLE OF CONTENTS ........................................................................................ xii

LIST OF FIGURES ................................................................................................. xv

FIGURES ................................................................................................................ xv

CHAPTERS

1 INTRODUCTION ............................................................................................. 1

2 ANATOMY MUSEUMS AND THE SPACES AROUND ............................ 13

2.1. The Emergence and Development of the Anatomy Museums .................... 13

2.1.1. From Cabinets to Museums ..................................................................... 13

2.1.2. The Status of Museum Architecture and the Anatomy Museum Today . 40

2.2. Medical Gaze and the Shaping of the Spaces of Anatomy ......................... 56

2.2.1. Medical Gaze as a Model of Perception .................................................. 56

2.2.2. Activities and Spaces Under the Influence of the Medical Gaze ............ 66

2.3. Display of the Anatomical Body ................................................................. 97

2.3.1. Systems of Visual Display ....................................................................... 97

2.3.2. The Art of Anatomy .............................................................................. 101

2.3.3. Multimedia Mapping of the Body ......................................................... 118

2.3.4. "Real" and Representational Bodies ..................................................... 122

xiii

2.3.5. The Experience of Embodiment ............................................................ 130

3 ANOTHER DISPLAY ENVIRONMENT: THE ANATOMICAL THEATRE

137

3.1. Memory and Theatre .................................................................................. 137

3.1.1. Representational Systems ...................................................................... 137

3.1.2. The Art of Memory ................................................................................ 144

3.1.3. Memory Theatre ..................................................................................... 152

3.2. Architecture of Knowledge: Spaces for Seeing and Knowing .................. 164

3.2.1. From Memory Theatre to Anatomical Theatre ...................................... 164

3.2.2. Museum, Theatre and Library ................................................................ 173

3.2.3. Theatre Architecture and the Design of Anatomical Theatres ............... 182

3.2.4. Ocular Anatomy and Ocular Space ........................................................ 199

3.3. Public Dissection: Making the Body Visible ............................................. 212

3.3.1. Anatomical Theatre as a Didactic Space ............................................... 212

3.3.2. Anatomical Theatre as a Performance Space ......................................... 215

4 ARCHITECTURE AND THE BODY .......................................................... 225

4.1 Order, Proportion and Harmony ................................................................ 226

4.2. Space, Form and Function ......................................................................... 237

4.2.1. Bodyscape: The Architecture of the Body ............................................. 239

4.2.2. Architectural Visualization of the Body ................................................ 262

4.2.3. Spatialization of the Body in Museum Space ........................................ 286

4.3. Transparency .............................................................................................. 291

4.3.1. The Visible Invisible .............................................................................. 291

4.3.2. Invisible Made Visible in Museum Space ............................................. 295

xiv

4.3.3. X-Ray Visualization .............................................................................. 299

4.3.4. Layering ................................................................................................. 319

4.4. (Dis)section ................................................................................................ 329

4.4.1. The Cut: Anatomization of the Body .................................................... 329

4.4.2. Representing the Dissection .................................................................. 335

4.4.3. The Architectural Cut: Section .............................................................. 339

4.5. Fragments .................................................................................................. 352

4.5.1. (Dis)membering ..................................................................................... 352

4.5.2. Dismembered Body Re-membered in Museum Space .......................... 358

4.5.3. Display in Fragments ............................................................................. 366

5 CONCLUSION ............................................................................................. 381

REFERENCES ...................................................................................................... 387

xv

LIST OF FIGURES

FIGURES

Figure 1. Ole Worm's museum in Copenhagen from Museum Wormianum (1655).

................................................................................................................................. 18

Figure 2. Surgeon's Hall, Royal College of Surgeons of Edinburgh ...................... 19 Figure 3. Playfair Hall, Royal College of Surgeons of Edinburgh ......................... 21 Figure 4. Engraving representing the internal courtyard of Palazzo Poggi by

Giovanni Battista Brustolon, 1756 .......................................................................... 23

Figure 5.Engraving representing the internal courtyard of Palazzo Poggi by

Bartolomeo Crivellari, 1756 ................................................................................... 23

Figure 6. A view of Ercole Lelli's anatomy room, realized for the Bolognese

Institute of the Sciences. ......................................................................................... 24

Figure 7. Dr. Hunter's Sketch of a Theatre, Museum, etc. published as part of the appendix to William Hunter's Two Introductory Lectures (1784) ......................... 27 Figure 8. Ground floor plan of William Hunter's house, museum and anatomy school at Great Windmill Street, by Robert Mylne, c.1765-1767 .......................... 28 Figure 9. Sketch of the ground plan of John Hunter's house and anatomy school at

Leicester Square in 1792 by William Clift, 1832 ................................................... 30

Figure 10. Ground and first floor plans of John Hunter's museum and house in Leicester Square, attributed to George Byfield, probably c.1801 ........................... 30 Figure 11. Section perspective view of John Hunter's house, anatomy school and purpose-built museum at Leicester Square, London in 1792 made by John

Ronayne, 2005 ........................................................................................................ 31

Figure 12. Sketch showing the display layout of the museum prepared by William

Clift in 1806 ............................................................................................................ 34

Figure 13. Room I of V of the Hunterian Museum, around 1900. ......................... 38 Figure 14. The larger of the two galleries that comprised the Hunterian Museum in

1842. Watercolor by Tomas H. Shepherd. .............................................................. 40

xvi Figure 15. The "Crystal Gallery" in the 2005 refurbishment of the Hunterian

Museum ................................................................................................................... 40

Figure 16. The eastern facade of the Louvre Museum, Paris, 19th-century print. .. 43

Figure 17. Museumsquartier Vienna ....................................................................... 44

Figure 18. Interior perspective drawing of R. Solomon Guggenheim Museum by

Frank Lloyd Wright, "The Masterpiece," 1958. ...................................................... 45

Figure 19. Elevation from Fifth Avenue facing east of Solomon R. Guggenheim

Museum, New York City, 1943-59. ........................................................................ 46

Figure 20. Definitive project model of Centre Pompidou, 1973 by Renzo Piano and

Richard Rogers ........................................................................................................ 47

Figure 21. Centre Pompidou from Sacré Coeur Basilica Montmartre Paris, 2017 .. 48 Figure 22. Image showing Guggenheim Museum together with the city of Bilbao.

Colors edited by the author ...................................................................................... 49

Figure 23. Musée des Confluences designed by Coop Himmelb(l)au, 2014 .......... 52 Figure 24. Exterior view of Corpus. Voyage through the human body, Oegstgeest.

................................................................................................................................. 53

Figure 25. Front view of the Mütter Museum in Philadelphia. Colors edited by the

author. ...................................................................................................................... 55

Figure 26.View of Marischal College Aberdeen, looking towards the sea in the

distance, c.1906 ....................................................................................................... 70

Figure 27. Floor plan, Anatomy Department, Marischal College, University of

Aberdeen, as 2009. .................................................................................................. 71

Figure 28. Mortuary in the Anatomy Department, Marischal College, University of

Aberdeen, mid 20

th century ..................................................................................... 72 Figure 29. Workshop in the Anatomy Department, Marischal College, University

of Aberdeen, mid 20th century ................................................................................ 74

Figure 30. Museum store in the Anatomy Department, Marischal College,

University of Aberdeen, 2007 ................................................................................. 76

Figure 31. Lecture theatre with an ear model on the table in the Anatomy Department, Marischal College, University of Aberdeen, 1964 ............................. 78 xvii Figure 32. Science laboratory with osteological specimens on study tables in Anatomy Department, Marischal College, University of Aberdeen, c.1960 .......... 79 Figure 33. Dissecting room in the Anatomy Department, Marischal College,

University of Aberdeen, 2007 ................................................................................. 81

Figure 34. Ground-floor bays and upper gallery of the Anatomy Museum,

Marischal College, 2007. ........................................................................................ 85

Figure 35.Technician's contact prints showing views of the gallery in the Anatomy Museum, Marischal College, University of Aberdeen, c. 1980s. Image cropped and

edited by the author. ................................................................................................ 86

Figure 36. Ground floor displays and the gallery of the Anatomy Museum, Marischal College, University of Aberdeen, 2007 ................................................. 88 Figure 37. The plan drawing of the American Museum of Natural History as included in the Annual Report of the Trustees for the year 1920 ........................... 90 Figure 38. Entrance corridor, Anatomy Department, Marischal College, University

of Aberdeen, c.1906 ................................................................................................ 92

Figure 39. Entrance corridor, Anatomy Department, Marischal College, University

of Aberdeen, 2007 ................................................................................................... 93

Figure 40. Ground floor of the Anatomy Museum in the Anatomy Department, Marischal College, University of Aberdeen, 2003 ................................................. 94 Figure 41. A study table between the display cases in the Berlin Museum of Medical History at the Charité, sketch drawing made by the author, March 2019 96 Figure 42. A student studying in the Berlin Museum of Medical History at the Charité, sketch drawing made by the author, March 2019 ..................................... 96 Figure 43. Postcard with Leiden University students surrounded by the anatomical

collections in a lecture room, around 1990. ............................................................ 97

Figure 44. Anatomical illustration made by Stephen van Calcar from De Humani

Corporis Fabrica by Andreas Vesalius (1543) ...................................................... 103

Figure 45. Anatomical illustration made by Giulio de' Musi (1535-1553) from Romanae archetypae tabulae anatomicae novis explicationibus by Bartolomeo

Eustachi (d. 1574) ................................................................................................. 103

xviii Figure 46. Bartolomeo Passerotti, Michelangelo Conducting an Anatomy Lesson,

ca. 1570. ................................................................................................................. 105

Figure 47. Separation of the Waters from the Firmament from Last Judgment (1536-1541) by Michelangelo, Sistine Chapel, Vatican ....................................... 106 Figure 48. Computer-assisted removal of the figures showing kidney shaped mantle

of the Creator, color highlighted version ............................................................... 106

Figure 49. The Birth of Venus by Sandro Botticelli (1486), exhibited in Uffizi

Gallery, Florence. .................................................................................................. 108

Figure 50. Anatomical Venus model in Museum of Natural History in Florence 108 Figure 51. Realistic illustration made by Antonio Serantoni (1755-1815) from Anatomica Universale by Paolo Mascagni (1780-1837) ....................................... 110 Figure 52. Illustration by Paolo Morgari in Francesco Bertinatti, Elementi di anatomia fisiologica applicata alle belle arti figurative. Turin, 1837-1839.

Lithograph. National Library of Medicine. ........................................................... 112

Figure 53. Gunther von Hagens, Body Worlds Exhibition, "Skinned Man." 1997-

present. ................................................................................................................... 114

Figure 54. Figure of the flayed muscle man holding his skin and flaying knife by Gaspar Becerra in Historia de la Composicion del Cuerpo Humano by Juan

Valverde de Amusco. (1556) ................................................................................. 114

Figure 55. Saint Bartholomew holding a flayed skin from Last Judgment (1536-

1541) by Michelangelo, Sistine Chapel, Vatican .................................................. 114

Figure 56. Viral Landscapes, Helen Chadwick, 1988-89 ...................................... 115 Figure 57. Functional Portrait: Self Portrait while drawing, Marta De Menezes,

2002 ....................................................................................................................... 116

Figure 58. Exploring fMRI data inside the AlloBrain ........................................... 117 Figure 59.Wax model of a dissected uterus with twins, photograph by Saulo

Bambi. ................................................................................................................... 119

Figure 60. Engraving of a dissected uterus with twins by Charles Grignion after Jan

van Rymsdyk, 1751 ............................................................................................... 119

xix Figure 61. Berlin Museum of Medical History at the Charité, 2016, photograph by

Laura Fiorio .......................................................................................................... 120

Figure 62. Dissecting room of St. Thomas' Hospital, London, 1886 .................... 121 Figure 63. Anatomy study in McGill Medical School, 1884 ................................ 122 Figure 64.Wet preparation of the vertical section of a boy's face, made by or for

John Hunter, before 1793 ...................................................................................... 126

Figure 65. Dry preparation of human head and neck, 1850-1900 ........................ 126 Figure 66. Dry preparation of a lung, 19th century, from Berlin Museum of

Medical History collection .................................................................................... 126

Figure 67. Life-size wax model of female anatomy from the workshop of

Francesco Calenzoli at La Specola in Florence .................................................... 129

Figure 68. Photograph of a plastinated body by Gunther von Hagens, from the

Body Worlds exhibition in Cleveland. .................................................................. 130

Figure 70. Illustration of the abbey referred in the 'Abbey memory system', Johannes Romberch, Congestorium Artificiose Memorie, 1533 .......................... 147 Figure 71. The guidance of images to be used in the 'Abbey memory system', Johannes Romberch, Congestorium Artificiose Memorie, 1533 .......................... 147 Figure 72. Plan of the Memory Theatre of Giulio Camillo .................................. 155 Figure 73. The Zodiac from Robert Fludd's Ars Amemoriae (p. 329) .................. 160 Figure 74. The Theatre from Robert Fludd's Ars Amemoriae (p. 330) ................. 162 Figure 75. Sketch of The Swan Theatre which was, a typical Elizabethan theatre by

De Witt, 1596. ....................................................................................................... 162

Figure 76.The illustration in the first page of the Ars memoriae in Robert Fludd's De utriusque cosmi historia, Tonus Secundus, Oppenheim, 1619 ....................... 163 Figure 77. The Mirror of the Whole of Nature and the Image of Art by Robert

Fludd, 1617. Colors edited by the author. ............................................................. 165

Figure 78. Engraving depicting the Leiden Anatomical Theatre by Willem van Swanenburgh after Jan Cornelisz. van't Woud (Woudanus), 1610 ...................... 169 Figure 79. The ceiling of Bologna Anatomical Theatre ....................................... 170 xx Figure 80. The Bolognese Anatomy Theatre after the eighteenth-century alterations from G. Tonelli, "Sul teatro anatomico dell' Archiginassio", Strenna Storica

Bolognese, xxviii (1978) ....................................................................................... 171

Figure 81. A view of the Anatomical Theatre of Bologna showing the wall facing

the entrance ............................................................................................................ 172

Figure 82. William Hunter and the Anatomy of the Modern Museum exhibition (September 2018-January 2019) in Hunterian Museum, Glasgow ....................... 177quotesdbs_dbs29.pdfusesText_35

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