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Geoffrey Scott’s The Architecture of Humanism at the Inception of Bruno Zevi’s Theoretical CorpusRaúl Martínez MartínezDepartment of History and Theory of Architecture,Universitat Politècnica de Catalunya-BarcelonaTechBy the late nineteenth century, Bernard Berenson, the American art historian specializing in the Renaissance, tried to renew the analytical methodologies employed in the field of art history by proposing the use of new concepts on pictorial analysis, such as spatial composition and life enhancement. In the twentieth century, his pupil, the English writer, scholar, and poet, Geoffrey Scott applied these new methodological issues related to Renaissance painting to its sister discipline: architecture. Though he was a recognized critic inside English aesthetic circles, he has been largely ignored in Continental European academic community. The influence of his centennial book The Architecture of Humanism (1914) has been limited to the Anglo-American world before the 1950s.This proposal will depict the key role that the Italian architect Bruno Zevi played after World War II by becoming the main architectural historian who introduced and diffused Scott’s forgotten masterpiece in many non-English speaking countries. Zevi defended a critical methodology based on spatial, empirical and sensory analysis of architectural works—an attitude that is observed in his theoretical corpus written immediately after his return from the United States: Verso un’architettura organica (1945), Saper verdere l’architettura (1948) and Storia dell’architettura moderna (1950).This study proposes an examination of Zevi’s corpus that focuses on his own reception of Einfühlung theories and the debates it instigated. It will contribute to the understanding of the methodological approach followed in the years after World War II on both sides of the Atlantic when the pictorial and architectural analysis converged once again.&#160;Raúl Martínez Martínez is an adjunct lecturer at the Department of History and Theory of Architecture and at the UPC School of Professional &#38; Executive Development for graduate studies, both at the Universitat Politècnica de Catalunya-BarcelonaTech, Spain. He has been a guest lecturer at the Poznan University of Technology, Poland, in 2017 and a visiting professor at the University of Illinois at Urbana-Champaign, USA, in 2014-2016. He completed his Bachelor of Architecture at UPC-BarcelonaTech in 2006 with a Diploma of Excellency.  While receiving his Master of Architecture from the Universidad Politécnica de Madrid, he worked as an architect at the studio of Alberto Campo Baeza where he contributed to several national and international projects between 2006-2009. In 2014, he earned his PhD from the UPC-BarcelonaTech, receiving a Summa Cum Laude on his dissertation: “Space and Empathy at I Tatti: The Conceptual Basis of Architecture Criticism after World War II.” A copy of this thesis is housed at The Berenson Library at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies and at the Biblioteca del Progetto of La Triennale di Milano. Specializing in the historiography of modern and postmodern architecture, Raul has spoken at several international conferences in Spain, France, the United Kingdom, Finland, Denmark, and Portugal, among others. He chaired the session “Art History and Physiological Aesthetics: Bodies, Senses, Historiographies” at the Association of Art Historians Annual Conference and curated the exhibitions, “A Tribute to Eduard F. Sekler,” “A Tribute to James S. Ackerman” and “The Problem of Modern Architecture in the 50’s: Colin Rowe and Bernhard Hoesli.” Raul has published articles in several international journals: Arquitectura Revista (Universidade do Vale do Rio dos Sinos, Brasil), Palimpsesto (UPC-BarcelonaTech, Spain), and ZARCH: Journal of interdisciplinary studies in Architecture and Urbanism (Universidad de Zaragoza, Spain). He is currently working on publications related to physiological aesthetics applied to architectural and urban analysis methodologies after WWII.