A Scientific Autobiography by Lawrence Venuti, Aldo Rossi

By Lawrence Venuti, Aldo Rossi

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In this light, ought I now to view my projects as a succession of unfinished and abandoned undertakings, or as a pursuit of the unexpected appearance of some new event? It seems to me that the event constitutes the novelty of a thing, and it is in this context that I have spoken of a competition, a particular place, a moment. Regarding the project for the villa in the Ticino, I spoke of a condition of happiness: is happiness perhaps a technique? Certainly the feeling of happiness cannot be transmitted except by way of some personal experience or some event; the event, on the other hand, is transmitted through a work.

The Roman theater, on the other hand, had a fixed back wall, and this wall was comparable to the retablo in the Spanish churches, which serves as both the altar and the backdrop for b'turgical action. Yet in the amphitheater a back wall was not necessary because aJI the interest was focused on the play and principally on the animal, man or beast. The same thing was true of the anatomical theater, where the boards of the stage, because of the focus of the action, rose mechanically from below with the cadaver.

My only experience with ftlm occurred at the 1973 Triennale in Milan. The film had the title of Loos'a beautiful easay on architecture, "Ornament and Jrime," and it wasacoIlageofarchitectural works and pieces ofdifferentfilms which tned to introduce the discourse ofarehitecture into h'fe and at the same time view it as a background for human events. From cities and palaces we passed to exeerpts from Visconti, Fellini, and other directors. Venice, and the problem of the historicaI urban center, acquired further significance as a background to the impossible love described by Visconti in I1 Senso l recall a white, desperate Trieste which only the story of Italo Svevo's Senility made 72 lln !!

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