Melancholy: Embodiments in Architecture; Flesh, Geometry, Shadow ​

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Paul Emmons

Virginia Tech, USA

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Melancholy, in balance with the other three classic humors, defined the physical and psychological characteristics of individuals over many centuries of human history prior to the development of modern germ theory. While generally considered undesirable, in special circumstances melancholy could also be a source of philosophical and artistic creation. Florentine philosopher, physician and priest, Marsilio Ficino (1433-1499), introduced the idea of melancholic genius in his combination of Aristotelian natural philosophy with Platonic supernatural frenzy. Ficino’s approach thereafter became the basis for western notions and iconology of creative genius into present times. 

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Less well-recognized is the close relationship between the emergence of melancholic genius and the beginnings of modern architectural practice removed from construction sites. Leon Battista Alberti (1404-1472), Ficino’s friend and colleague, is generally regarded as a leader introducing the modern design architect working in the scholar’s studio. The close ties between melancholy genius and architecture are traced through the material culture and architecture history of the studiolo/study as well as through the posture of the architect at the drawing table. Despite changing concepts and technologies, the posture of melancholic genius has remarkable continuity.

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A modern case study of the long duration of ideas of architectural genius is Frank Lloyd Wright’s (1867-1959) design of the house, Fallingwater (1934-38). The story of its design is often cited as evidence of Wright’s genius. However, closer consideration of this story suggests that it was crafted to reflect prevailing ideas of genius rather than describe the actual events as they transpired. This suggests that rather than trying to fit architects into received ideas of genius like a procrustean bed, instead allowing a greater breadth of descriptions of practice opens more diverse opportunities. Similarly, melancholy need not be a restrictive approach to design creativity, instead the built outcomes of design as well as the practice of design itself can be the cure of melancholy through joyful architecture. As architect and author Marco Frascari (1945-2013) often remarked, the vita beata, the art of living well, is based in the art of designing and building well.