TABLE OF CONTENTS ACKNOWLEDGEMENTS ~ ) Yanel de Angel Salas INTRODUCTION Eve Blau ESSAYS 2 FORMS OF CRITI CALlTY Sinisha Brdar 16 TSCH UMI'S FIREWORKS DESIGN FOR THE INAUGURATlON OF PARC DE LA VIL LETTE: Pyrolechnic Archileclure Translaled Yanel de Angel Salas , I . , " 30 AALTO AUTHENTICATEO l ' l' On Alvar Aallo's Jargon 01Aulhenlicily Joris Fach 50 AVATAR FOR OYSTOPIA The Oigilallmplicalions ollhe Separalion Barrier John PGenda ll 60 ANIMALlZATION ! Francisco Gonzalez de Canales 74 PIRANESI / SCHUITEN: ARCHITECTURE, COMICS ANO CLASSICISM From Piranesi lo Sch uilen: The Hyperlrophy 01 Slyle Lu is Miguel Lus-Arana 104 TECHNOLOGY, THE CHANG ING SUBJECT OF ARCHITECTURE ANO ITS ARTlCULATION Frosken, a Case Sludy Mark R. Mansfield 130 MULTIPLE READlNGS ON ARCHITECTURE ANO FILM Marcelo Rangel 136 CITY HALL ON A HILL Juan Luis Rodr ígue z 158 TECHNO LOGICAL TOPOS , ANO THE ' RE-VIS ION' OF THE LOWER NINTH WARO, NEW ORLEANS Del ia Wendel Luis Miguel Lus-Arana PIRANESI / SCHUITEN 74 ARCHITECTURE, COMICS ANO CLASSICISM From Piranesi to Schuiten: The Hypertrophy of Style 1. INTRO: Piranesi and Schuilen: 1.1. Des Aureurs Obscures Bramanle lell Ihal he could nol do wilhoul il: It was a 1001 which slimulaled his imaginalion lo produce Ihe invenlione (.. .) It was able lo exlend Ihe real inlo Ihe illusory as moving "artislic" crealion. Arnaldo 8ruschl in ' Sramante"¡ Since he lirs t appeared in the world 01 eomie books as a partner to Claude Rénard2 in 1980, Fran,o is Sehuiten has beco me a fu ndamenta l aulhor lo exp lain Ihe evolution 01 European eomics throug h the last Quarter 01the 20lh Ce ntury. Along his career, Sehuiten and his works have revealed an extraord inary example 01both Iheorelieal and fo rmal eoherenee in Ihe crealion 01a Iragmentary world where his diflerent in terests and obsessions - il the te rm obsessive can be anyhow appl led to Sehuiten's Germanic rigor- erystallize in arehiteetural shape. Arehiteeture and engineering , Iheir logies, and their representabon have been the vehie le lo r Sehuile n to reshape this multiplieily 01 interests into imaginary seenarios where an eXQu isite heterogeneily coexists with the unbearable eoherenee 01 the surrea l. Olten re laled lo Yana Friedman's (un)leasible arehiteetural ulopias, with the pub lieation 01 7I7e Tower in 1987, Sehuiten will ca ll allention towards the dep ieti on 01 an in ne r world thal wi ll reeall E.C. Escher's visual deeepllOns, bul, aboye all, Ihe erealions 01 anolher masler 01 specu lative arehitecture : Giambattista Piranes;, Sehu iten brings baek a refleetion on the eoneept 01 helerolopia, !hat Miehel Foueaull had eoined310 depiellhe limes 01 simullaneity and has been re eurrently used lo reler lo the Italian master. Like ~ranesi, Sehuilen will beeome , Ihrough his partnerships with Claude Rénard , Benoit Peeters and his brother Lu e, a master 01 arehileetural prospeetive Ihal will attain laseinalion Ihrough eomplexily and will re ereate in his work Kanlian sub li mily Ihrough a surrealislie plaus ibilily, Buill in Ihe style 01 an Inner vedula , In La Tour (The Tower) Francois Schuilen and 11. SeHing up Ihe conlen (1): Archlteelure, Comics and Classicism Benoíl Peelers olfer us a new read lng 01G iambattisla Piranes i's work, Ihrough a The sea rch lor Aulhenlicily rendilion 01 Ihe spaces he crealed lor Ihe "Carceri d'invenzione " (1745 - 1760) Ihal progressive ly reveals as a eonlem porary Irealise on Ihe work 01 Ihe Venelian Wilh Ihe crealion 01Prince Valianl by Harold Fosler in 1937, Com ics, Archileclu re architecl 01 amazlng lucl dity' and Hislory would inslilulionalize a re lalionship Ihal would lasl unlit loday, lO However, il Pa lladio depi cled Ihe age 01 Ihe Golhs as a dark era Ihal had Ihrown over Ihe legacy 01 Anliquily nolhing bul sadness and ignorance, 11 loday we experience 1. 11, la Tou r: Piranesi by Schuilen nostalgia 01Ihe Middle Age simi lar lo Ihal 01 Ancienl Rome Ihal Ihe arlisls 01 Ihe Renaissance lell. Thus , lo lind any lrace 01 classicism, classic or classica l C'esl un abandon, une pourrilure des lieux qui consliluenl pour moi un reel architeclures in comics, we ollen have 10 go back lo Ihe depiclion 01 Ihe cilies 01 Ihe plaisir graphique(.. .). Ancienl World. IIlhe Middle Age is generally depicled in comics Ihrough recrealions F ra fl ~ o l 5 SctlUllen on Giamooltista Pirao!!si5 01 ils urban environmenls , Ihe polis 01 Ihe Classic Greece will usually be lranslaled inlo com ics by adding colonnades and lronlispieces lo generic cubic volumes ,11 In Ihis sludy, we wi ll describe and ana lyze, Ihrough Sch uilen's work, some 01 Ihe Irying lo conveya convenlional plausibil ity Ihal relers lo Ihe irnagery Ihal cinema has characlerislics 01 Piranesian space , a menlal - and, aboye all , graphie - conslrucl inslalled in our coll eclive subeonscious, In Ihis sense , Ihe image 01a nliquity Ihal Ihal has laseinaled hislorians, pa inlers,6wr ilers and archilecls along Hislory, and comics recreale is nol very dilferenl !rom Ihal which Ihe maslers 01 Rena issance and Ihal loday relains ils validity, being il poss ible lo lrack ils presence in Ihe images Baroque had : a succession 01 lemples and monumenlal groups Ihal, in Iheir while 75 Ihal Ihe arch ileclural neo -avanl-garde olters lo us .1 limelessness and serene grand iosity recreale an idealized era 01 wisdom and virlue very dislanl lrorn ilS polychrome and quolidian real ity. 76 Along Ihe lexl, we will idenlily Ihe lealures 01 Piranesi's piclures Ihal can be lound in .-¡" '. Ihe Belgian artist's work , nol only Ihose concerning Ihe very archileclural synlax, bul The wide knowledge we have 01 Classic Rome , and Ihe amounl 01 bu ildings Ihal " ' ~ " al so Ihose ones Ihal Ihe Iradiliona l hisloriography (Wiffkower, RObinson, Tálun) has have made Iheir way lowards our lime allow Ihe conslruclion 01 replicas 01 Ihe urban riL.t!i " . emphas ized , As relaled lo Ihe lirsl po inl, we will analyze Ihe concepl 01 vedula in landscapes and landmarks in varying degrees 01 accuracy, Thus , Ihe "aging" 01 11 Piranesi , and Ihe mechanisms 01 lormal and stylislic ¡uxtaposilion, superimpos ilion nowadays ' Rome provided by Hal Fosler (nolice Ihe anachronically wide avenues and hierarchy (Parere su '11 archilellura) , which can be seen in a new lighl Ihrough in Prince Valiant) can be conlraposed lo Ihe prec ise archaeo log ical reeonslruclion Ihe inlerprelalion 01 Schuilen 's Germanic mind, Among Ihe second group , we will ollered by Ihe long sagas crealed by Jacques Marlin (Alix, (948) , Xavier Snoeck locus on recurring lealu res Ihal appear bolh in Piranes i's and Schu ilen's work, and Sirius (Les TImour, 1953) or René Gosc inny and Alberl Uderzo/ René Gosci nny such as Ihe dramatic use ollighling and perspective (la scena per l'angol08) - and (Aslerix, 1959) , However aceura le in Ihe render ing 01 Ihe spec ilic build ings , a Ihe geomelric conslruclion 01 impossible views- Ihe role 01 Ihe labyrinlh and Ihe cerlain "flaltening 01 Hislory" can be lound even in Ihe mosl respecttul examples, slaircase (especia lly Ihe he li coid sla irs) , Ihe use 01 sca le, Ihe presence 01 machines and il in PrinceVa li ant's ear ly Middle Age we cou ld easily lind Roman leg ionnaires or Ihe role 01 human ligure in Ihe represen lalion 01spaee ,9 and Vikings coexisl wilh Islamie cilies (long belore Mahoma was born ), Al ix or Aslerix afien Iravello a liclicious Julius Caesar's Rome where Ihe Coliseurn already Th e sludy 01 Ihe binomial Schuilen/Piranesi wi ll he lp us define coneepls as Ihal exisls, Ihe Forum has reached a mueh grealer level 01 deve lopmenl Ihan il should 01 S/yIiSlic Hypertrophy, Ihal revea ls lundamenla l in Ihe Belgian anist's work have by Ihal lime, and marble is eXlensively used in bui ldings and monumenls (we bul Ihal can also be outl ined in Ihe exeessive - yel ecleelie - mannerism 01 Ihe seem lo be in Hadrian's Rome inslead) . Anyway, Ihose and also Ihe rare depicl ion Venelian archi lec!. Drawings have always been Ihe arehileels ' med ium lor lormal 01 olher elassic archileclures (su eh as Ihe Byzanline and Baroque calhedrals we experirnenlalion , lar speeulalion beyond reali ly. In eom ies ' worlds, Ihis exploration lind in Winsor McCay's liUle Nemo in Slumberland) have all a purely background sleps up lo a lurlher slage . The ereation 01 drawn (and narraled) universes atlows ro le (even Ihough Ihey afien represenl a source 01 knowledge comparable lo Ihal us lo experimenl Ihe elteels 01 archileclure in society in an innocuous way and 01 Violl el-Ie-Duc 's hisloires I3 ), being Ihe archileclural researeh consigned lo Ihe al Ihe lowesl eos!. Through his work in "The Obscure Cilies", Fran,ois Sehuilen prospeelive - ma inly ecleelic- worlds crealed by Moebius, Dtomo, Meziéres, Enki proposes , along wilh Benoil Peelers , a revision and inlerweave 01I he hisloric sty les Bila !. Juan Giménez or Fernando Rubio arnong many olhers, 11 is in Ihis conlexl Ihal Ihal surpasses Ihe cynieal and inlelleclualized Poslmodern attempls, lo dive inlo Ihe work 01 Fran,ois Schuiten in La Tour acquires ils re levance, bringing unexpecled the inherent eharaeterislics 01 Ihose styles, and their ab ili ty lo evolve and dialog cohe renee lo Ihe Iragmentary work 01 Giamballista Piranesi white exploring!he in archi tecture, much in Ihe same way as Piranesi did wilh elassicallanguage, evolutive eapacity 01classie allanguage, perve rting his Albertian -and Pallad ian- heritage . Wi th this work, Ihal is lramed in a more ample investigalion aboul Ihe represenlalion 111.