Architecture for elments (Gianfranco Moneta, Logica e complessità dell'Architettura)
Organizing patterns
1 Side-placing between Elements
2
Through-penetration between Elements
3
The shifting, the rotation, the withdrawal
of Elements
Organizing patterns
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1 Side-placing
between Elements
(enumeration, duplication, connection)
When
an Element approaches the other Elements, establishes an
interdependence, a link and therefore a relation
under the
form of a linguistic principle.
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2
- Through-penetration
between Elements
(overlapping, stratification, fragmentation of the elements)
Yet-known
linguistic elements, characterised by a powerful permanence through
the course of history, are “conventional”
materials;
their “re-use” guarantees the historical continuity
of
the new project. At the same time the innovation is garanteed by a
“non conventionality” of the reutilization of the
yet-known material;
All
those endless combinatorial forms which are derived from the through-penetration
of the Elements, are mentally thought to
be “mobile” on not-parallel sliding axis (in this
way
virtually disposed to intersect themselves); This combinatorial forms
reproduce an organizing form with extraordinary formal results.
In
this new resultant unit, each Element conserves its identity and
simultaneously contributes to build a superior unit: the Phrase.
Moreover,
all the archetypes, since they are interior to the historical
process, are subjects to transformation, which has to be considered
like an unceasing form of reuse.
So
the time becomes a valid and useful principle in
the project;
project can foresee different temporal phases each expressed by a
distinct project morphology and therefore by a clear identified form.
In
such a way, the time necessary for the construction
of the
city is “captured” by the architecture project
which
acquires it in the synchronic dimension of a “new
project”.
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3
- The shifting, the
rotation, the
withdrawal of Elements
The
organization of the Elements puts off stability and
strong
structural requirements through ordinary axis.
When
the Elements are intersected and through-penetrated
between
them, some of these give up their own elements in favor of the others
who form “stronger” structures, giving life to a
process
of controlled shattering of elements: the Withdrawal.
On
the contrary, it exist an almost endless field in which the forms
displace themselves without any geometrical affinity or through
intentional refusal of any kind of basic geometry.
This
process is marked by a general instability that, without renouncing
to the Form – and therefore without falling into causality
–
asserts non rational and purposely non logical
values.
The
Shifting and the Rotations mostly stand out – in
the
composition- the force of the archetypes’ form.
“These
are images that before belonging to the human history, they belong to
preconscious … these are images which seem familiar to us
even
if we’ve never seen them before.”
The
archetypes, invariant forms of our
history and our mind,
usually represent the reasons why of architecture,
that is too
often reduced to the formalistic problems of how-to.
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