Victor Plahte Tschudi is a professor in architectural history at the Oslo School of Architecture and Design. He teaches and writes on architecture from antiquity to the present with a special interest in the mediation and transformation of buildings in print. Tschudi is the author of Baroque Antiquity: Archaelogical Imagination in Early Modern Europe (2017) and Piranesi and the Modern Age (2022).
Tschudi received his PhD from the University of Oslo and a MA from the Courtauld Institute of Art. Research projects include The Jerusalem Code (Norwegian Research Council), Topos and Topography (Bank of Sweden Tercentenary Foundation) and Piranesi and the Modern (The National Museum of Norway). Tschudi was the leader of OCCAS (2013–22) and co-founder of the Nordic Network of Renaissance Studies (NNRS). He is currently the Lila Wallace Reade´s Digest Visiting Professor at Harvard University/Villa I Tatti with the project Monuments and Mutation.
Piranesi and the Modern Age. Cambridge, MA: The MIT Press, 2022.
Roma Bygget i bilder: Christian Skredsvig, Eilif Peterssen og den nye hovedstaden. Oslo: Orfeus Publishing, 2022.
Baroque Antiquity: Archaeological Imagination in Early Modern Europe. New York: Cambridge University Press, 2017.
Brevkunstneren: Christian Skredsvig i Roma og Paris.Oslo: Dreyers Forlag, 2009.
Piranesi and the Modern, edited by Victor Plahte Tschudi, Wenche Volle, og Marianne Yvenes. Oslo: The National Museum of Norway, 2022.
Bok: Høydepunkter fra 33 norske boksamlinger, edited by Victor Plahte Tschudi and Ernst Bjerke. Oslo: Orfeus Publishing, 2022.
Treasures from the AHO Library, edited by Mari Hvattum, Paul-Antoine Lucas and Victor Plahte Tschudi. Oslo: AHO/OCCAS, 2021.
From Site to Sight: The Transformation of Place in Art and Literature, edited and with an introduction by Victor Plahte Tschudi and Turid Karlsen Seim. Rome: Scienze e Lettere, 2013.
Ashes to Ashes: Art in Rome between Humanism and Maniera, edited by Roy T. Eriksen and Victor Plahte Tschudi. Rome: Edizioni dell’Ateneo, 2006.
‘Carceri and Cubism’ in Piranesi @300, edited by Mario Bevilaqua and Clare Hornsby (forthcoming).
‘Conceptual Campo Marzio’ i Giambattista Piranesi: Sognare il sogno impossibile. Rome: Istituo Centrale per la Grafica (forthcoming).
‘The Imaginary Prisons and the Two States of Modernism’, in Piranesi and the Modern, edited by Victor Plahte Tschudi, Wenche Volle, og Marianne Yvenes, 38–53. Oslo: The National Museum, 2022.
‘Campo Marzio: An Archaeology of the Future’ in Piranesi and the Modern, edited by Victor Plahte Tschudi, Wenche Volle, og Marianne Yvenes, 84–97. Oslo: The National Museum, 2022.
‘Thomas De Quincey og den litterære gjenskapingen av Piranesi,’ Kunst og Kultur, årgang 103, nr. 3 (2020): 117–29.
‘Two Sixteenth-Century Guidebooks and the Bibliotopography of Rome,’ in Rome and the Guidebook Tradition from the Middle Ages to the 20th Century, edited by Anna Blennow and Stefano Fogelbeg Rota, 89–114. Berlin: De Gruyter, 2019.
‘Bibliotopography’ in The Printed and the Built: Architecture, Print Culture and Public Debate in the Nineteenth Century, edited by Mari Hvattum and Anne Hultzsch, 145–50. London: Bloomsbury Publishing, 2018.
‘The Temple, the Double, and Its Triple Identities,’ Future Anterior, vol. 15, no. 2 (2018): 17–31.
‘Piranesi, Failed Photographer,’ AA Files, 75, (2017): 150–151.
‘Verdensgalleriet og kunstens tilblivelse’, in Nasjonalgalleriet, edited by Audun Eckhoff, 90–119. Oslo: Fagbokforlaget, 2017.
‘Goethe in the Hall and His Journeys in a Printed Rome’, Architectural Histories 3, no 1 (2015). Special Collection Building Word Image: Printing Architecture 1800-1950, art. 21. http://doi.org/10.5334/ah.cx
‘Miniature Cities’, in Modelling Time: The Permanent Collection 1925–2014, edited by Mari Lending and Mari Hvattum, 157–58. Oslo: Torpedo Press, 2014.
‘Heavenly Jerusalem in Baroque Architectural Theory’, in Visual Constructs of Jerusalem,edited by Bianca Kühnel, Galit Noga-Banai, and Hannah Vorholt, 179–85. Turnhout: Brepols, 2014.
‘Negotiating Time’, in Place and Displacement: Exhibiting Architecture, edited by Thordis Arrhenius, Mari Lending, Wallis Miller, Jérémie McGowan, 171–82. Zürich: Lars Müller Publishers, 2014.
‘Recollecting Prints: Remembrance and Reproduction in Goethe’s Italian Journey’, in From Site to Sight: The Transformation of Place in Art and Literature, edited by Victor Plahte Tschudi and Turid Karlsen Seim, 139–63. Rome: Scienze e Lettere, 2013.
‘Plaster Empires: Italo Gismondi’s Model of Rome’, The Journal of the Society of Architectural Historians 71, no. 3 (September 2012): 388–405.
‘Ancient Rome in the Age of Copyright: The privilegio and Printed Reconstructions’, Acta ad Archaeologiam et Artium Historiam Pertinentiae 25 (2012): 177–194.
‘Maleri som Modell i Berninis Louvre’, in Kopi & original: Inversjoner i opprinnelsestenkningens historie, edited by Karin Gundersen and Mari Lending, 113–30. Oslo: Scandinavian Academic Press, 2011.
‘The Return of the Living Dead: Antikke Statuer i Renessansens Roma’, Agora, no. 3 (2010): 22–33.
‘Tampering with Temples: Antiquity in the Catholic Reformation’, in Imitation, Representation and Printing in the Italian Renaissance, edited by Roy T. Eriksen and Magne Malmanger, 291–304. Rome: Fabrizio Serra Editore, 2009.
‘Palatin som Forbilde fra Ligorio til Linstow’, in Antikken i ettertiden, edited by Mathilde Skoie and Gert Vestreim, 95–108. Oslo: Universitetsforlaget, 2009.
‘Serlio and Sabbioneta: A City Built in Prints’, in Rhetoric, Theatre and the Arts of Design, edited by Clare L. Guest, 108–25. Oslo: Novus, 2008.
‘The shape of space: An Interpretation of the Term ‘area’ in Alberti’s De Re aedificatoria’, in Ashes to Ashes: Art in Rome between Humanism and Maniera, edited by Roy T. Eriksen and Victor Plahte Tschudi, 41–47. Rome: Edizioni dell’Ateneo, 2006.