By Lawrence Venuti, Aldo Rossi
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Extra resources for A Scientific Autobiography
It has no centrality on the ground level; the eentraIity exists in the cireulation of the balconies and in the incline of the pointed roof. I liked the idea of this interior indine so much that I built a structure in which eommon elements and joints were disengaged as in a temporary construction, and this in fact is what gives the theater its temporary appearance. Thus, in the structure the rods and brass joints, which look almost gilded, move closer together and become superimposed, creating a skeleton, a machine, a living device that no longer has its original shape and cannot be compared to a scaffold.
In The Architecture of the City, they served to help me demolish functionalist culture in a meaningful way, and I quoted what they said to this purpose. Here the question of "personality" also counts for something, and it is certainiy very important that Loos is not represented merely by his architecture, and that "Ornament and Crime" remains an extremely beautiful title for an architectural essay because it aIludes only indirectly to architecture. Mies, on the other hand, is the only one who knew how to make architecture and furniture which transcend time and function.
The singular authority of the built object and of the landscape is that of a permanence beyond people. Although I have always desired to describe my projects, I do not know whether such description turns out better before or after the fact. It is like the testimony of a crime or a love affair. An architectural project is a vocation or a love affair; in either case, it is a eonstruction. One can hold oneself back in the face of this vocation or affair, but it will always remain an unresolved thing.
A Scientific Autobiography by Lawrence Venuti, Aldo Rossi