“EVERYTHING can be combined, but PLASTICITY must be built.” “Each correct maneuver leads to the development of plasticity: if on one hand the object comes together for reasons of the project and other motives inspire the plan, the destruction of the object that closes and confines must be permanent and its handling consequential: voids, lines, colors, directions that oppose each other the stronger the better (in general) but without self absorption and making decorative detail.” “An energetic TRAIT should bring the inside out and its counter-posed opposite, not the inverse, must return opposed: pulverizing the object but making PLASTICITY evident”. “A form is sometimes USED, and with just a simple transformation it reprises the ACT. Nothing should stop one from thinking about form and light as a complex number that fills the entire length: at the expense of beauty. From now on, at least for us, the “beautiful” and the “ugly” only exist in space and time, but not in IMMUTABILITY: they are a game whose contrast is just a product of a conventional comparison: we shall call “beautiful” that to which we have become accustomed to and by contrast “ugly” what we have not been able to reduce, and so a continuous process can take us from a neutral shape: a cylinder, through consistent development and continuous destruction of the figure and the object, to PLASTICITY”. “Now then, the geometric body must be destroyed in a progressive manner by the FORM, and this in turn by SCALE, so that the similarity is essentially undone; in turn scale must be destroyed to obtain MAGNITUDE, that is, the number of a
work, and by successive destruction of all naturalistic points of views, produce a dis-axisation of natural vision and achieve pure plasticity. A work of architecture must carry within itself its own perspective, not be subject to it from the outside. Similarly, the natural and subjective three-dimensional space - which is what gives corporeal consistency - must be destroyed by continuous opposition of directions, avoiding all axial symmetry, and therefore the presence of the geometric body and volume. The destruction of the particular shape must be carried out in a gradual and artistic manner. It is precisely the particular shape that prevents a plan to develop in the direction of DEPTH (life), it slows monumental art and blocks it artistically”. He finally concludes: “My whole existence - from the first project I did independently as an student: ‘A House Dwelling’ in which I used the GOLDEN SECTION throughout, even in the volume - was nothing but a slow, gradual destruction of what obstructed absolute plasticity.” What he says is that the work acts upon us, surrounds and fully and completely integrates us. This presence of architecture does not admit then the existence of vantage points, but should act for any body position by means of continuity. Thus, the architectural elements that compose it must be “sorted” so as to allow full reading from any position and point of view. This “order” would be what constitutes the plasticity of the work.
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