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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.