Portraits IV LITERALLY ARCHITECTURE !
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Cutting marks Folding marks Folding marks LITERALLY ARCHITECTURE ! ARCHITECTURE LITERALLY Portraits IV IV Portraits Portraits is a series of critical assessments on contemporary issues. Its specifcity lies in the association of mutually enlightening, yet seemingly antogonist programs. Its method claims no historical loyalty, as sources and facts are being intentionally set up to serve a reducing purpose. Portraits evaluates contradictory encounters and stresses cross-fertilization as a key asset in the design process. Portraits IV Portraits IV investigates the dramaturgy of life through the prism of literature. LITERALLY ARCHITECTURE ! Eidgenössische Technische Hochschule Made in Made Made in Zürich Portraits IV LITERALLY ARCHITECTURE ! Gastdozentur Made in François Charbonnet . Patrick Heiz Philipp Oehy . Leonor Macedo . Pedro Guedes ETH Zurich . FS 2013 Index Literally Architecture ! Prologue 7 Introdution 30 I. Epistulae (1st c. AD) 40 II. Dangerous Liaisons (1782) 58 III. Father Goriot (1835) 76 IV. Te Fall of the House of Usher (1839) 94 V. Pot-Bouille (1882) 112 VI. Against the Grain (1884) 132 VII. Uncle Vanya (1897) 150 VIII. Buddenbrooks (1901) 166 IX. Bluebeard’s Castle (1911) 184 X. Te Metamorphosis (1915) 202 XI. In the Shadows of Young Girls in Flower (1919) 220 XII. Te Great Gatsby (1925) 238 XIII. Te Infernal Machine (1934) 256 XIV. La Jalousie (1957) 272 XV. Life a User’s Manual (1978) 290 Bibliography 311 Filmography 312 Eidgenössische Technische Hochschule Made in Zürich Contact 315 Prologue FRANZ LISZT KONZERTSAAL, RAIDING, ÖSTERREICH. Concours. Salle de concert de 600 places dans la ville natale de F. Liszt. FRANZ LISZT KONZERTSAAL, RAIDING, ÖSTERREICH. Competition. Six hundred seater concert hall in F. Liszt’s native city. Concours. Salle de concert de 600 places dans la ville natale de F. Liszt. [...] le portraitCompetition. d’une femm Sixe hundpar unred seatergrand concert artiste hall ne in cherch F. Liszt’sera nativeaucune city.ment à donner satisfaction à quelques unes des exigences de la femme [...] et mettra au contraire en relief[...] le lepos rtrdésavantagesait d’une femm qu’ellee par cherche un grand à ca chartisteer et nequi, cherch commerae un aucune teint mentfièvreux, à do vonnerire versatisfactiondâtre, le teà ntentquelq dues’autant unes plus des parceexigences qu’ils de ont la dufemme ”caractère” [...] et [...].mettra Maintenat au contraire déchue, en situéerelief lehorss d ésavantagesde son propre qu’ telleype cohercheù ell tr ôà naitcach inervulnérable, et qui, co mmelle en ’unest teiplusnt fièvreux,qu’une femme voire quelconqverdâtre, uele teenntent la sup d’érioritéautant plus de q parceui nous qu’ avoils ontns perdu du ”caractère” toute foi. [...].Ce type,Maintenat nous faisionsdéchue, tellemsituée enthors consister de son propre en lui, tnoypen seuleoù elml trentônait la beautéinvulnérable, d’une Odette,elle n’est m plusais sa qu’une personnalité, femme sonquelconq identitueé, en q uela supdevérioritéant le portrait de qui nousqui l ’avoa dnsépouillé perdue toutede lui f,oi. no Ceus type,somm noesus tent faisionsés de noustellem éentcrier consister non seule enment: lui, no “Commn seuleme entc’est la enlaidibeauté!”, d ’unemais: Odette, “Comm meais c’ estsa personnalité,peu ressem- blant!”.son identit Nousé, q auevon devs peineant le àportrait croire qqueui cel’a soitdépouillé elle. Ne ousde luine, lano reconnaissonsus sommes tent pasés. Etde pourtantnous écrier il y non a là unseule êtrement: que nous“Comm sentonse c’est bien enlaidi que!”, nous mais: avon “Comms déjà vue c.’ estMais peu cet ressem- être-là, ceblant!”. n’est pasNous Odette; avons le peine visag àe decroire cet être,que ceso nsoit cor elleps, . soNnous aspect ne la, no reconnaissonsus sont bien connpas. us.Et Ipourtantls nous ilrappellent, y a là un être no nq uepas nous la femme,sentons bienqui neque se nous tenait avon jams daiséjà ainsivu. M, aisdo ntcet la être-là, pose habce nituelle’est pas ne Odette; dessine le vinulsagleme deent cet une être, telle son corétrangps, soe net aspect provocante, nous sontarabesque, bien conn maisus. d’autresIls nous femmes,rappellent, toutes no ncelles pas qu’la femme,a peintes q Euilstir ne etse q uetenait tou jours,jamais si ainsidifférentes, dont qu’ellesla pose puissenthabituelle être, ne ildessine a aimé ànul camlemperent ainsi une de telle face, étrang[...] le ela rgete provchapeauocante rond ara tenubesque, à la main,mais réd’autrespondant femmes, symétriquement toutes celles à la qu’ hauteura peintes du Egenoulstir et qu’ queil couvre toujours,, à ce sit diautrefférentes disque qu’elles vu de face,puissent le visag être,e. il a aimé à camper ainsi de face, [...] le large chapeau rond tenu à la main, répondant symétriquement à la hauteur du genou qu’il couvre, à cet autre disque vu de Marcelface, Plero ust,visag À l’ombe. re des jeunes filles en fleurs, sous la dir. de Pierre-Louis Rey, Collection Folio Classique, Gallimard, 1988. [...]Marcel no Ptro onlust, yÀ w l’ombill there des portr jeunesait filles of en a fleurs,woman sous byla dir. a gderea Pierre-Louist artist not Rey, see Collectionk in th Folioe least Classiqu to ge,ive Gallimard, satisfaction 1988. to var ious demands on the woman’s part [...]. It will on the contrary emphasise those very blemishes which she[...] seenokt sonl toy hidwille, theand portr whichait (asof afor woman instance by a gsicreaklyt ar, altistmost not g seereenkish in thcoemplexion) least to g ivear esa alltisf theaction more to temptingvarious demand to him ssi onnce the the woman’sy show “character” part [...]. It [...] will F onallen the no contrarw, situatedy emp ohasiseutside those her o verwn yt ypblemishese in which which she satshe unassailablyseeks to hid e,en andthroned which, she (as is fnowor instance just an aor sicdinarykly, alwommostan, g reenin theish legendcomplexion) of whose ar es uperiorityall the more we havetempting lost allto hi faith.m si nceW ethe arye shso owacc “character”ustomed to in [...]corporating Fallen no inw ,th sitisuated type notoutsid onley herthe obeautywn typ oe fin an w hichOdette, she busatt unassailablyher personality en,throned her identity, she ,is that now stan justding an orbeforedinary the wom portran,ait in that the haslegend th uosf striwhosepped s uperiorityher of it we arehave inclined lost all tofaith. prot Weste notare sosimply accustomed “How toplain incorporating he has md ine her this!” t ypbute not“Why onl,y itth isn’e beautyt the o leastf an bOdette,it like her”.but her We personality find it ha,rd her to ibeliedentityve ,that that it stan canding be she. before We the do portrnot raitecogniz thate hasher . thAnus dstri yetpped ther ehe isr ao fperson it we thereare inclined on the canvasto prot estwhom not wesimply are quite“How conscious plain he of has having mde herseen!” before. but “Why But ,that it isn’ persont the is least not Odette;bit like theher”. face We o ffind th eit p haerson,rd to her belie bodyve that, her it gcaneneral be she.app earanceWe do notsee msrecogniz familiar.e her .They And reyetcall ther toe uiss anot person this particularthere on the woman canvas w whomho never we helared quiteherself conscious like that, of whavinghose nat seenural before. pose Butnever that formed person an yis s notuch Odette;strange andthe fteaceasing of thareabesqu person,e, buhert otherbody ,wom her en,general all the app womenearance whom seems Es familiar.tir has eve Theyr painted, recall women,to us not whom this invariablyparticular, womanhoweve rw theho ynever may heldiffder he frselfrom onlike eanother that, w,hose he has nat uralchosen pose to neplantver formedthus, in an fully s uface,ch stran [...] gea largand ete rasingound haarabesqut in onee, han butd ,other symmetrically women, all co rrtheesponding women whom, at the Es leveltir ohasf th evee krnee painted, that it women, covers, towhom that otherinvariably disc,, higherhoweve upr thein ythe may pictu diffre,er thefro mface. on e another, he has chosen to plant thus, in full face, [...] a large round hat in one hand, symmetrically corresponding, at the level of the knee that it covers, to that Marcelother disc,Proust, higher Rememb uprance in othef Things pictu Past,re, the within face. a Budding Grove translated by C.K. Scott Moncrieff and Terence Kilmartin, Copyright Chatto & Windus and Random House Inc., 1981. Marcel Proust, Remembrance of Things Past, within a Budding Grove translated by C.K. Scott Moncrieff and Terence Kilmartin, Copyright Chatto & Windus and Random House Inc., 1981. Leonardo da Vinci, Mona Lisa (1503) Erechteion, Athènes, Ve siècle avant J.C. 8 23 24 9 Erechteion, Athènes, Ve siècle avant J.C. 23 24 [...] Te IS OF IDENTITY. You are an animal. You are a body. Now whatever you may be you are not an “animal”, you are not a “body”, because these are verbal labels. Te IS of identity always carries the assignment of permanent condition. To stay that way. All name calling presupposes the IS of identity. Tis concept is unnecessary in a hieroglyphic language like ancient Egyptian and in fact frequently omitted. No need to say that the sun IS in the sky, sun in sky sufces. Te verb TO BE can easily be omitted from any languages and the followers of Count Korgybski have done this, eliminating the verb TO BE in English. However, it is difcult to tidy up the English language by arbitrary exclusion of concepts which remain in force so long as the unchanged language is spoken. THE DEFINITE ARTICLE THE. THE contains the implication of one and only: THE God, THE univere, THE way, THE right, THE wrong, if there is another, then THAT universe, THAT way is no longer THE universe, Te way. Te defnite article THE will be deleted and the indefnite article A will take its place. THE WHOLE CONCEPT OF EITHER/OR.