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La ciudad como teatro de personajes. Las Masques de John Hejduk
Full text linkThe architectural work of John Hejduk (1929-2000) is marked by theoretical-design research, collected in series with titles and periods. Among these series the one entitled Masques, developed since about 1979, can be considered the nucleus of his research on the architecture of the city and the place of origin of his language of construction later developed in his realized buildings. This paper analyses the dense network of references and analogies established by Hejduk to create his Masques, trying to fix its origin in the idea of the city as a theatre of characters composed of architecture. Starting from the name chosen for the title of this series, the paper tries to trace the threads that lead from the general work of the various projects of the Masques series, to the reflections and ideas that produced it. Then, it comes back again to the observation of architecture and of a case study (Security, 1989), to understand and explain its meaning and the compositional methods involved into the process of genesis of form. Through the entire work named Masques, and its recognizable link with the buildings and installation realized around the world, Hejduk has built an archive of architectural prototypes ready to construct different parts of the city, thus highlighting the strong connection that his work establishes with reality in order "to conceive it, represent it and finally realize it".La obra arquitectónica de John Hejduk (1929-2000) está marcada por la investigación teórica y de diseño, recogida en series con títulos y períodos diferentes. Entre estas series, la titulada Masques, desarrollada a partir de 1979, puede considerarse el núcleo de su investigación sobre la arquitectura de la ciudad y el lugar de origen de su lenguaje constructivo desarrollado posteriormente en los edificios realizados. Este artículo analiza la densa red de referencias y analogías establecidas por Hejduk para crear sus Masques, tratando de fijar su origen en la idea de la ciudad como un teatro de personajes compuesto por la arquitectura. Partiendo del nombre elegido para dar título a esta serie, el artículo intenta trazar los hilos que conducen desde el trabajo general de los distintos proyectos de la serie Masques, hasta las reflexiones e ideas que la produjeron. A continuación, vuelve de nuevo a la observación de la arquitectura y a un estudio de caso (Security, 1989), para comprender y explicar su significado y los métodos compositivos que intervienen en el proceso de génesis de la forma. A través de toda la obra denominada Masques, y de su reconocible conexión con edificios e instalaciones real izados en todo el mundo, Hejduk ha construido un archivo de prototipos arquitectónicos listos para construir diferentes partes de la ciudad, poniendo así de manifiesto la fuerte conexión que su obra establece con la realidad para "concebirla, representarla y finalmente realizarla"
“It's not just building per se. It's building worlds”. John Hejduk: l'architettura e la sua idea
No full textArchitecture is for Hejduk the form of thought, that manifest itself in the reality. Architect’s mission is find the authentic forms of its own time through the refoundation of programs, carrying out the task of all arts: to watch the whole world and give a vision for the future. This written represent an attempt to outline a unitary thought about the meaning of architecture by Hejduk. A subterranean idea feed the phases of his architectural career, link to each other, under the civic engagement roof, the educator’s passion for the transmissibility of knowledge, with the artist-architect’s exaltation of subjective implication.L’architettura per Hejduk è la forma di un pensiero sul mondo, che si manifesta nella realtà concreta. La missione dell’architetto è trovare le forme autentiche del proprio tempo attraverso la rifondazione dei suoi programmi, svolgendo il compito proprio di tutta l’arte: osservare l’intero mondo e offrirne una visione per il futuro. Questo scritto rappresenta il tentativo di delineare un pensiero unitario sul senso dell’architettura di Hejduk. Un’idea sotterranea che ha alimentato le fasi della sua carriera architettonica, intrecciando tra loro, sotto il tetto dell’impegno civile, la passione per la trasmissibilità della conoscenza dell’educatore, all’esaltazione delle implicazioni soggettive dell’artista-architetto
Progetto per le nuove scuole comunali di San Vittore, cantone Grigioni, Svizzera
No full textUn grande prato è il centro dell'intera composizione. Una grande corte aperta a cui tutte le parti della scuola fanno riferimento. E' il luogo collettivo, rappresentativo dell'intera comunità scolastica, cuore pulsante della città di San Vittore. E' il luogo dell'incontro, della scoperta, del gioco, della conoscenza
DESTRUCTION INTO FRAGMENTS THOUGHTS COLLECTED BY MEANS OF IMAGES
No full textAs in a continuous chain, each image in this new journal issue is figuratively linked to the following one, creating a dialogue and raising questions on the different facets of the destruction. Destruction and Construction stand for both the process and its result. However, if construction has a finality in the constructed form, destruction has no purpose and completes itself in the unfinished.
In this space and time between wholeness and fragmentation also lies the possibility of rediscovering the profound meaning of beauty or ‘the greatest pleasure’ of life as a fragment, paraphrasing the role of Thomas Bernard’s ‘Old Masters’. It is a beauty that resides in the narrative power of time, in the feeling of “the other”, in the curiosity of discovery, in the possibility of a horizon of meaning on which to be born again each time.
Snapshot of the loss (Milan, 1946), utopian city fragments (The New Babylon, 1969), imprints of book pages carried away by the flood (Florence, 1966), erased artistic memory (Artemisia Gentileschi painting, 1616-1618), chaos of formal beauty (Krasnojarsk, 2010), new perspectives for the contemporary city (Paris, 1975), unexpected wounds immediately sutured (Beirut, 2020). But also abandoned architecture as a symbol of lifeless power (L’Aquila, 2006), earthquakes theatricality (Naples, 1981), destruction that breeds monsters (Francesco Hayez painting, 1867), and exploding collapsed bridge (Genoa, 2019) are here the ‘images of thought’ (Denkbilder) of the same narrative
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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