Fresh Interest In Scarpa
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Connections are elliptical and changing. Syntax and grammar are relational; however, they aren’t whatever. Whoever destroys language destroys himself or herself.
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Language is really a second body. Delaunays’ paintings, their “window to the city”, the surrealist novel, the nouveau roman all discover language as a second body. It is the materialized soul. With Novalis the physique becomes the stream, the night, the day, the cosmos. His “liquid girls” are the secret of language. To know that “milk is black” is also 1 of the numerous secrets of language linking us directly to the cosmos. Language is often a secret naming.
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Mallarmé and Duchamp show us, that if the universe is language,-its face is empty. Their works are trajectories in search of meaning. Performing Architecture is a really like for language. It is like going to the desert and absorbing the lessons of the stream. It is becoming alone: the horizon and earth meeting, vastness, emptiness, movement, alter and space. It will be the courage to be in a position to face the “empty face” of the universe that allows for new possibilities of languages and forms of life.
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Language is usually somewhat ahead of our thoughts, just like writing or drawing. Surrealist writing, the drawing or sketch in Architecture, are the flow of language, it can be a form of swimming, diving into a thing which is already there, like the city with all its superimpositions. As using the superimpositions identified in Cezanne or Schindler’s work, the superimposition and layering of space, volumes and colors. Language is ahead of our thoughts. The heart, the soul, emotions along with the body make for the corporeality of language. Language has an intimate connection to experience.
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This is why language, writing and drawing have a deep and secret power to promote being. The imagination hungers for images. Drawing isn’t a depiction but a way of thought of expression; it is really a figurative language like a form of writing. Scarpa’s work doesn’t so substantially take spot in an arena of visual perception as in the vicinity of a linguistic competence. He by no means fell into historical styles since his interests were of a relational nature: ” A Transparency of relations”. According to Octavio Paz “Light is time thinking of itself.
Language is really a place; there is a desire in language to orient and to have a standpoint. The language of Architecture is like the eye of language, it truly is about one more sort of seeing. Language is like a plan or a section, it really is generative, and it is really a relational instrument. Architecture like language is polysemous, polyphonic and polysemantic. Architecture is about giving time and space for the articulation of diverse visions, voices and their several interconnectedness. Architecture and language are, like paintings, within the words of Clemenceau: “A way of searching deep into the eyes of the world.”
In Chinese “but” is the radical root of the ideogramme “mouth” and “who” is the radical root of the ideogramme “language”. Words, like walls, planes, light and space, want to enwrap and to show themselves; to traverse their personal space. The problem possibly is much less to just let “words run loose”, as to keep them within reach of their possibilities and within reach of their suggestive powers. The desire for words to show themselves also speaks of the strong relationship in between language and joy. Words, like materials, space and light are the heaviness of emptiness. Language is that which closes itself over the void.
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