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collage architecture

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1976
Manfredo Tafuri   "Cesi n'est pas une ville"   Lotus International 13
Analysing Rene Magritte's series of drawings, Ceci n'est pas une pipe, Michel Foucault recognizes in them a sort of "calligramme" reversed on to itself to the point of self-destruction. The "calligramme" is apparently intended to delete the oppositions of our alphabetical tradition. It shows and it names, depicts and says, imitates and signifies, entices one's eyes and invites them to read. But in Magritte's drawing the writing in the calligramme rejects this game and reassumes its natural place. It is in fact set at the base of the composition: "là où il sert de support à l'image, où il la nomme, l'explique, la d'compose, l'insère dans la suite des textes et dans les pages du livre. Il redevient 'légende'. Le forme, elle, remonte à son ciel don’t la complicité des lettres avec l'espace l'avait fait un unstant descendre: libre de toute attache discursive, elle va flotter à nouveau dans son silence natif."
The calligramme would appear to be intended to abolish the distance between languages and, with seemingly lucid intent, to recompose the differences between the different "ordres des discours", Magritie's drawing reveals the inherent utopia of this operation. ...


1978

Piero Sartogo   Roma Interrotta: Sector I   5810b


1978

James Stirling   Roma Interrotta: Sector IV   5810d

1978

Romaldo Giurgola   Roma Interrotta: Sector VI   5810e


1978

Venturi and Rauch   Roma Interrotta: Sector VII   5810f


1978

David Griffin and Hans Kolhoff   City of composite presence   Collage City

1978

Colin Rowe & Fred Koetter   Collage City


1982-

Stephen Lauf   Mayor's House   2269

1984
Stephen Lauf   Casa Collage   001 002 003 004 005


1984

Stephen Lauf   Green Enfilade House   2252


1991

Parthenon Columns at Villa Stein de Monzie   2284

1991

Parthenon Columns at Wall House 2   2283


1993

Sober House 1   2286


1993

Analogous Building   2287



1978   Collage City
Interestingly, the words a-temporality and a-temporal make an appearance within the text of Collage City:
"Presented with Marinetti's chronolatry and Picasso's a-temporality; presented with Popper's critique of historicism (which is also Futurism/futurism); presented with the difficulties of both utopia and tradition, with the problems of both violence and atrophy; presented with alleged libertarian impulse and alleged need for the security of order; presented with the sectarian tightness of the architect's ethical corset and with more reasonable visions of catholicity; presented with contraction and expansion; we ask what other resolution of social problems is possible outside the, admitted, limitations of collage. Limitations which should be obvious enough; but limitations which still prescribe and assure an open territory."
The only architectural collage actually in the book Collage City is the frontispiece:


David Griffin and Hans Kolhoff   City of composite presence   Collage City

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