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#4395. A room of the mind: from the studiolo to the metaphysical room
| August 2026 | publication date |
| Proposal available till | 12-05-2025 |
| 4 total number of authors per manuscript | 0 $ |
| The title of the journal is available only for the authors who have already paid for |
| Journal’s subject area: |
| Visual Arts and Performing Arts; Cultural Studies; |
| place 1 | place 2 | place 3 | place 4 |
| Free | Free | Free | Free |
| 2510 $ | 1340 $ | 1170 $ | 1000 $ |
Contract №4395.1   | Contract №4395.2 | Contract №4395.3 | Contract №4395.4 |
1 place - free (for sale)
2 place - free (for sale)
3 place - free (for sale)
4 place - free (for sale)
More details about the manuscript: Arts & Humanities Citation Index or/and Social Sciences Citation Index
Abstract:
The aim of this article is to propose an approach to the “space of the mind” through the analysis of successive spaces built with scenographical techniques that can be found in some domestic rooms. Two rooms, conceived and built in Italy, separated from each other by half a millennium, were taken as a case study. These are the studiolo of Federico da Montefeltro and the Stanza Metafisica of Piero Fornasetti. The starting point is the studiolo, a type of private room that has its origins in the Renaissance, and while it has been blurred since then, its specific qualities has been applied to other spaces throughout history. The studiolo was the most intimate room in the house, dedicated to intellectual activity, and it was a representation of the individual. Stanza Metafisica is a room capable of adapting to any space, able to grow and shrink, a scenography dedicated to meditation. The 32 wooden panels that form it, treated using a contemporary technique, take us to the same place of the mind. In conclusion, both examples reveal the existence of both a physical room and another metaphysical room—i.e., a fictitious space contained within a real space, built through technique and perspective. These are scenographies capable of being moved and adapted to disguise any room, transforming it into a space that is inhabited by the mind for an intimate, individual intellectual activity.
Keywords:
Federico da Montefeltro; furniture; Piero Fornasetti; stanza metafisica; Studiolo
Contacts :
2 place - free (for sale)
3 place - free (for sale)
4 place - free (for sale)
More details about the manuscript: Arts & Humanities Citation Index or/and Social Sciences Citation Index
Abstract:
The aim of this article is to propose an approach to the “space of the mind” through the analysis of successive spaces built with scenographical techniques that can be found in some domestic rooms. Two rooms, conceived and built in Italy, separated from each other by half a millennium, were taken as a case study. These are the studiolo of Federico da Montefeltro and the Stanza Metafisica of Piero Fornasetti. The starting point is the studiolo, a type of private room that has its origins in the Renaissance, and while it has been blurred since then, its specific qualities has been applied to other spaces throughout history. The studiolo was the most intimate room in the house, dedicated to intellectual activity, and it was a representation of the individual. Stanza Metafisica is a room capable of adapting to any space, able to grow and shrink, a scenography dedicated to meditation. The 32 wooden panels that form it, treated using a contemporary technique, take us to the same place of the mind. In conclusion, both examples reveal the existence of both a physical room and another metaphysical room—i.e., a fictitious space contained within a real space, built through technique and perspective. These are scenographies capable of being moved and adapted to disguise any room, transforming it into a space that is inhabited by the mind for an intimate, individual intellectual activity.
Keywords:
Federico da Montefeltro; furniture; Piero Fornasetti; stanza metafisica; Studiolo
Contacts :
