Conspicuous display : stairs historical and modern Part I : A theoretical introduction and examples of historical stairs in stone, masonry and wood

Abstract

It is the purpose of this article to explain how the stair as an architectural element not merely serves the function of vertical movement in a manner requiring physical safety, but has often, especially in monumental and ceremonial architectural settings on the outside or inside of historical buildings, been elaborated structurally and embellished as a focal component. Monumental and ceremonial stairs often served as a conspicuous part of the display of power of the patrons, as well as the structural and artistic ability of their appointed designers. By expanding Thorstein Veblens theory of “conspicuous consumption” to include conspicuous material creations throughout the ages, especially in the form of prestigious buildings and structures such as stairs, it will be argued that powerful clients and their architects often created splendid architectural displays which serve as event-spaces, made to the measure of the human bodyDit is die doel met hierdie artikel om te verduidelik hoe die trap as ‘n argitektoniese element nie bloot funksioneel dien om veilige fisieke vertikale beweging moontlik te maak nie, maar dat dit dikwels, veral in monumentale en seremoniële argitektoniese situasies, aan die buite- of binnekant van historiese geboue, struktureel uitgebrei en versier is om as ‘n fokale komponent te dien. Monumentale en seremoniële trappe het dikwels gedien as n indrukwekkende onderdeel in die magsvertoon van opdraggewers, sowel as bewys van die strukturele en kunssinnige vernuf van die aangestelde ontwerpers daarvan. Deur Thorstein Veblen se teorie van “indrukwekkende verbruik” uit te brei om indrukwekkende materiële skeppings deur die eeue heen in te sluit, veral in die vorm van geboue en trapstrukture as vertoonstukke, word aangevoer dat maghebbende kliënte en hulle argitekte dikwels indrukwekkende argitektoniese skouspele volgens die skaal van die menslike liggaam geskep het om terselfdetrtyd as gebeurtenis-ruimtes te dien.