Poor old future

March 19, 2009

Let’s start then with the very first post of my Strategies against architecture, posts that, as written here, want to be devoted to a critical analysis of the deterioration of mass information that generalist media are making in terms of architecture, and a sort of first explanation of some stereotypes that distort the common opinion.

Although the topic is vast alas, we need to start from somewhere and we will commenting on a recent episode of The stories – Italian diary, beautiful cultural program conducted by Corrado Augias, broadcast Monday to Friday from 12:45 pm on Rai3.

Particularly, in the episode of March 6th, the homeowner met Vittorio Gregotti who, not yet satisfied for having been guest in Philippe Daverio’s Passepartout a few weeks earlier, had the opportunity to present his latest Against the end of architecture, indeed, even at Augias’. To understand what we’re going to discuss, I strongly recommend spending about twenty minutes in the vision of the transmission, which Mom Rai makes available here (forgive me for the reference, but unfortunately embedding is not possible from Rai.tv) .

First, I’d say – trying to quell spontaneous motions of irritation that are generated in me when hearing similar comments – starting a popular transmission with an almost indiscriminate attack to the (alleged) sins of an (alleged!) architecture is not exactly reason for pride by qualified people with vast experience in the study of the discipline history. This consideration be read as a something that I think would be appropriate to write before any kind of paternalistic speculation, that is any discussion held in the form of lessons and then directed to an audience of listeners considered mostly ignorant on the scope thereof. The use of such a technique makes it even too easy to play without a contradictory at par (not to say anything to the good Augias, highly educated person but not a scholar of architecture), mostly when the rapporteur is involved in the interest conflict of those who implicitly advertises its job with his mere presence; with the demolition of others’ intentions, the final obstacles to the affirmation of his (still alleged!) intellectual superiority are easily removed.

This is just to speculate on the method, but to get on rather, I consider embarrassing Gregotti’s speech made (by Augias’ mouth) to hit the easy target David Fischer on his famous rotating skyscraper. The arguments are, to say it politely, definitely wit-lacking: the skyscraper is «a nonsense» and «an insulting waste» (why, if it technologically makes sense to the point that it is energetically self-sufficient? why, if it interprets in a such formally simple way the not-new desire of architecture for movement?); the skyscraper is big – and so on with Koolhas’ Bigness, something wrote not less that fifteen years ago with very, very different aims – and big is evil, which is certainly a statement of undoubted freshness; the skyscraper is «bizarre», a word last used maybe in Victorian age, whose opportunity is called into question by the talks of the same Gregotti (concerning the existence of Villa Girasole in Marcellise since 1929) and Augias (which rightly reminds Brunelleschi).

And then, the apotheosis of the critical decay. The roles invert: Gregotti righteously defends the theory of architecture and notices, perhaps appropriately (but we could discuss this very long), the scarce use of the theoretical study as a background for so much contemporary design; at that, Augias takes refuge in the beastly syllogism: Le Corbusier made houses where I would not ever live / Le Corbusier was «one who theorized much»/ theory gives birth to monsters.

Once again, an attempt to the “cultured” debate is reduced to the designer of Palermo’s Zen’s self apology, to the accuses to politics, to the description of the architect as the one that makes beautiful but awkward houses, and essentially to the usual historical, artistic, aesthetic, philosophical, sociological and poetic nothing, that it is the only portrayal that all these Sunday scholars can make about the state of art, summarizing the issues of architecture from Brunelleschi the Milan Expo in fifteen minutes.
No wonder the audience, seeing these aberrations called planning the future, seek peace backwards in a sad eclectic anachronism.

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