The discovery of Colin Rowe

Colin Rowe-Collage city

A performance proceeding via the ceaseless interaction of affirmation and contradiction and since we are immersed in its action, then the best we can do is to understand it. In fact freedom imposes the enterprise, and if it is only through the activity of the historical consciousness that we as captives of this freedom, can know the substance of things then it must also be in terms of this consciousness that liberty defines itself. Though, whatever this liberty may be, it is still faced with yielding even when achieved to the endless prospect of emerging and self-developing constellations of particulars, all of them equipped with reason and spirit and all of them insisting on accommodation. –HEGEL

The art of memory of Frances yates speaks of gothic cathedrals as mnemonic devices. The bible and the encyclopaedias of both illiterate and the literate, these buildings were intended to articulate thought by assisting recollection. The building as a theatre of prophecy, the building as a theatre of memory.
Why should we be obliged to prefer a nostalgia for the future to that for the past? Could not the model city which we carry in our minds allow for our known psychological constitution? Could not this ideal city at one and the same ime behave quite explicitly as both the theatre of prophecy and a theatre of memory?
Predicament of texture
The building is a collective structure urbanistically is far more active-the Uffizi may be seen as reconciling themes of self conscious order and spontaneous randomness. It proclaim the building as a value upon both the new and old.
This world is to be considered not only as habitable poché but as a urban room, perhaps one of many.; and to consider then a number of towers, current specification-smooth, bumpy with or without entrails, whatever to be located as urban furniture, perhaps inside the room and some outside. A single substance made of compounded heterogenous elements.
Collision city and the politics of bricolage
…If I have last wish is that a higher and indestructible bond of the beautiful and the true may have been tied which will keep us forever firmly united. –hegel.
The city became hypothesized as a condition of complete holistic and novel continuity, the result of scientific findings and a completely glad human collaboration. A combination of scientism and moral enthusiasm.
One could fear that the architect as bricoleur is, today almost too enticing a programme, which might guarantee formalism, ad hocery, townscape, pastiche, populism and almost whatever else one chooses to name. but.. the savage mind of the bricoleur! The domesticated mind of the engineer/scientist! The interaction of these two conditions! The artist/architect as both something of a bricoleur and something of a scientist!

Levi strauss bricolage-ref
Example of collusive fields and interstitial debris. It is not an idiosyncratic coagulation of things, or even if it is. It demand to be exploited, in offering a highly energetic scaffold for debate/discussions.
The open society depends upon the complexity of its parts, which collectively may not only check each other but protect the individual in this collectivism. The society becomes a symbol of fraternal order, a grouping of the equal and likeminded, which collectively assumes the power to negotiate its freedoms.
The factory becomes a didactic instrument. The factory as museum, as a positive concert of culture, and educational purpose, the city as a benevolent source of random but carefully selected information, supremely conscientious profusion of references. The city was to some degree, to become a sort of habitable exhibition, a collection of permanent reminders which were to edify both the resident and the visitor.

The factory becomes a dialectic between past and future, of an impacting of iconographic content, of a temporal as well as a spatial collision. When looking at the factory you should ask what is true and what is false? What is antique and what is new? The problem here is to define what collage is. Collage and the architect’s conscience, collage as technique and collage as state of mind.

If we stop thinking which is the most real (copy or assemblage) we find ourselves moving from aesthetic to metaphysical contemplation. For what it seems most real is most false and what seems most remote it is perhaps the most real since it is least an imitation.

Objects and episodes are obtrusively imported and while they retain the overtones of their source and origin, they gain also a wholly new impact from their changed context. For collage, often a method of paying attention to the left overs of the world, of preserving their integrity and equipping them with dignit, of compounding matter of factness and celebrality, as a convention and a breach of convention, necessarily operates unexpectedly. Collage accommodates both hybrid display and the requirements of self-determination.

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