By Lawrence Venuti, Aldo Rossi
Book Details:
Website: Amazon, LibraryThing, Google Books, Goodreads
Read or Download A Scientific Autobiography PDF
Similar architecture books
Structure can now not restrict itself to the paintings of constructing constructions; it should also invent the politics of taking them aside. this can be Jill Stoner's premise for a minor structure. Her architect's eye tracks otherwise from such a lot, drawn to not the lauded and iconic yet to what she calls "the panorama of our built mistakes"--metropolitan hinterlands rife with failed and foreclosed advancements, undersubscribed place of work parks, chain inns, and deserted shops.
The Oxford Companion to Twentieth-Century Art
The Oxford better half to 20th Century artwork presents readers at each point with a wealth of fabric and knowledge at the paintings of our time. No different reference e-book or consultant to twentieth-century paintings covers so vast quite a number matters, or offers quite a bit aspect, as this one-volume assemblage, according to formerly scattered details from inaccessible histories, monographs, and largely dispersed exhibition catalogs.
- Landscaping for energy efficiency
- Squares: Urban Spaces in Europe
- Cosmopolitanism in Mexican Visual Culture (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)
- A Companion to Roman Architecture (Blackwell Companions to the Ancient World)
- Gods in Dwellings: Temples and Divine Presence in the Ancient Near East
- Antonio SantElia
Additional resources for A Scientific Autobiography
Sample text
This rule applies equally to the places of the city. "Thisunique buOding made me feel quite happy; in it I rediscovered the oldest threads of my experience and the more recent ones of my own history. Perhaps I also saw rising from the water my projects for Modena and Cuneo which so resemble the cube-like theater, but as I have said, stasis had become a condition of my development. The compulsion to repeat may manifest a lack of hope. but it seems to me that to continue to make the same thing over and over in order to arrive at different resuits is more than an exercise; it is the unique freedom to discover.
And aftemoons wasted in Ferrara or along the river itself. This autobiography ofmy projects is the only means by which I can talk about them. I also know that one way or another it does not matter. Perhaps this again signifies forgetting architecture, and perhaps I have already forgotten it when I speak of the analogous city or when I repeat many times in this text that every experience seems definitive to me, that it is difficult for me to define a past and a future. And if I have always claimed that everything is an unfolding or the opposite, whenever I actualiy see that theater on a raft rising from the water in the Venetian lagoon, I also see again the object at Modena or Cuneo.
It has no centrality on the ground level; the eentraIity exists in the cireulation of the balconies and in the incline of the pointed roof. I liked the idea of this interior indine so much that I built a structure in which eommon elements and joints were disengaged as in a temporary construction, and this in fact is what gives the theater its temporary appearance. Thus, in the structure the rods and brass joints, which look almost gilded, move closer together and become superimposed, creating a skeleton, a machine, a living device that no longer has its original shape and cannot be compared to a scaffold.