By Teresa Stoppani
Concerning architecture and the town, outfitted, imagined and narrated, this publication specializes in long island and Venice, yet considers structure as an highbrow and spatial technique instead of a product.
A critical look at the making of long island and Venice offers a heritage to addressing the dynamic redefinition and making of house at the present time. The sluggish procedures of adjustment, the making of a continually altering dense house, the emphasis on forming instead of on determine, the incorporation of latest varieties and languages via their version and transformation, make either ny and Venice, in several methods, the precise areas to contextualize and handle the problem of an structure of the dynamic.
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Additional resources for Paradigm Islands: Manhattan and Venice: Discourses on Architecture and the City
Sample text
In this framework the city and its processes are intellectually understood not only by reference to the urban cultural context, but also by drawing categories from other disciplines. This open reading is focused on architecture’s histories and theories, but it intersects also art theory and practices, land surveying, cartography, philosophy and urban studies. Architectural manifesto, architectural history as a ‘project’, grids and ‘grid effects’, different mappings, rectilinear and meandering spaces, and the associative processes of capriccio, montage, and ‘tenderness’, are some of the processes that inform the making of the city beyond the appearance of its form, and are proposed here as unorthodox analytic devices to understand the urban complexity.
It is a strategy for the project that brings architecture (and its role in the making of the metropolitan space) outside architecture. Koolhaas’s Delirious New York is not quite and not yet a specifically architectural project; it rather proposes the definition of a spatial operation and of a way of constructing thought on the city and on the role of architecture in it. Operationally, the book embraces the Benjaminian method of making history18 as a project of collection, description, juxtaposition and reaction of selected fragments of the modern metropolitan condition.
To work by ‘time islands’ means also to understand the reasons that induce to seek elsewhere to find the motivations, the causes, the influences, and the origins of changes and shifts in progress. What I have called here the city of the ‘space within’ are the outcomes of these spatio-temporal accumulations, the physical or bodily effects of these specific condensations of phenomena. The richness and vitality of these spaces resides in the complexity and multiplicity that they carry ‘within’, in their not yet unfolded potentialities, in the possible developments not yet achieved.