Texts and books have a fundamental importance for architecture as a
place for investigation and experimentation. The book has often been a moment
of verification, exploration, and systematization of thoughts through catalogs,
collections and essays. Today, in a historical moment in which great theories
have disappeared and theoretical speculation is fragmented, sporadic and
continually contradicted, it is legitimate to ask for what role a book of
architecture may cover inside the discipline of architecture.
In January 2017, in the old library of the Onassis Foundation in Athens,
Zissis Kotionis, Greek architect and university professor at the University of
Thessaly, tells his work as a writer presenting his books in a speech that runs
throughout his 30 years of activity. The books were presented in chronological
order using projects, realized or not, only to support the description of the
books as a sort of attempt to give physical substance to theoretical
investigation. This event declares two complementary urgencies: at the one hand
the necessities of research theory as anticipation of the design activity, and
at the other hand the necessity of writing itself as a tool both for
theoretical speculation and for formal research. In this way Kotionis sanctions
the centrality, but also the inevitability, of the text as a project.
Kotionis eschews from writing any scientific investigation, preferring
instead a text that stands between criticism, personal history and theoretical
speculation, and he moves easily, and ambiguously, between these. In this sense,
although apparently they look to be essays, these books try to tell stories.
The distance from a pure scientific reasoning is explained by the same author
by quoting the German romantic poet Friedrich Hölderlin who in Hyperion vividly described Greece
without ever having visited it. Hölderlin's is an imaginary journey in a real
place that combines the collective imagination with the desire for physical
contact of the body on a certain place. Writing is therefore a mean that unites
fantasy to experience in a narrative where imagination and reality can meet.
This type of narrative acquires the distinctive character of the works
of the romantic painters who have represented the places they visited - or never
visited - of the Grand Tour as a collage of fragments and ruins both real
and fantastic, mixing codes, places and personal memories. The texts of
Kotionis seem to be constructed in the same way: they are collections of texts
that give rise to a heterogeneous composition made of fragments, pieces that
belong to different moments or written for different occasions, personal
memories and built projects, which all together meet in the physical place of
the book as in a canvas.
These collections take the form of archives, where various texts are
collected without a real beginning or an end, a characteristic that determines
a sort of incompleteness. The archive, as Superstudio writes in a manifesto published
in 1968, is an open tool in constant evolution that avoids to set principles, but
that makes hypothesis, ambiguity and doubts as a prerequisite for any research
(Superstudio, 1968). In the same way Kotionis avoids to establish codes in
favor of a formulation of multiple operational possibilities. The book The Madness of the Place (2004) has its
roots in the architecture of the Second World War in Greece identified
essentially in three fundamental figures for the Neo-Hellenic architectural
culture and with the legacies they gave birth: Dimitris Pikionis and the
vernacular, Aris Konstantinidis and the modernism, Takis Zenetos and the
electronic technology. In reality it is difficult to relegate these architects
to clear definitions, as their research and their works transcend any -isms.
Kotionis' texts transversely investigate their works avoiding issuing judges
but rather identifying three different complementary conditions of existence
that cannot exist simultaneously.
By getting together these different conditions, Kotionis reaches the liberty
of not to choose and not to take side. It is the freedom to work on new research
hypotheses without any constraint. As Peter Turchi points out in Maps of Imagination: the Writer as
Cartographer (2004, 12), this is a prerogative of the act of writing
understood as an act of exploration. This process of exploration is indeed based
on the premeditated and undisciplined combination of various parts. But while
the research phase is rigorous and assertive, its assumptions are uncertain.
Perhaps the clearest example in which this narrative structure is employed
is the book Anaximander in Fukushima. Genealogies
of Technique (2017), a publication that presents the exhibition set up with
the same title at the Benaki Museum in Athens in 2010. It is a collection of
objects, fragments of texts, and images taken from the work of the Greek
pre-Socratic philosophers, combined with texts and works by the architect
himself. The narration develops as a series of fragments, without any apparent
continuity. What keeps everything together is the fact that Kotionis builds a cosmology
that is a world-space where every element belongs.
If we aim to investigate the origins of this narration, we need to look
at the past and specifically at Kotionis' first published text, The Search for Dwelling in Dimitris Pikionis
(1994) which collects the research carried out during his PhD thesis at the
Polytechnic School of Athens. Pikionis was one of the leading architects of
Neo-Hellenic Architecture and a promoter of Regionalism whose importance is
internationally recognized (Frampton, 1980). The famous walk under the
Acropolis, a long quasi-oriental style stone and concrete carpet, is a
retrospective narration that explores individual and collective stories. It is
a non-linear text composed of new and old fragments: the stones found in situ are recombined like disordered
fragments from the past, together with some long strips of concrete and the sequences
of the views of the actual landscape of Athens as frames taken along the spiral
path that climbs up to the hill. This project poses the question of the research
for a contemporary narrative form realized through non-linear paths that moves between
physical, visual and historical fragments.
In Tell Me, Where is Athens
(2010), Kotionis narrates the transformation of the urban landscape of Athens
in the last decades. The texts are collected in three groups (theory, rhetoric
and projects) and present a fragmented panorama that does not indicate
privileged directions. For Kotionis Athens cannot be resumed in a single image
but always suggests the existence of some other places in front of us, almost like
a flaneur that moves on the rough
soil of the peninsula of Attica searching for something to discover. The book
has a fractal structure that imposes to the reader a continuous change of the
distance of the point of view, thus constructing new relationships between
inside and outside, large and small, distant and close. It is the same
geography of the Attica peninsula that is narrated, but Kotionis' worry is not
so much the need to reveal something, but the attempt to elaborate hypotheses
for what is not included at a fist glance.
Farewells (2008) is a
rapid travel among places with the speed of the airplane. It combines the
omniscient view of flying together with the archaic need to physically stand on
the ground. A fast rhythm guides the reader between distant places, whose
stories are juxtaposed without any particular order. The description of
physical places, clearly named in the title of each chapter, is combined with
photographs of other places, as a sort of fantastic journey towards an
elsewhere. The narrative does not cause disorientation, but on the contrary it
provokes the desire to be in a specific place, or better in the many places of
the book. Like Hölderlin, the place of memory or expectation is merged with the
physical characteristics of a specific place.
A third form of travel is narrated in Trans Europe Express (2010) that collects nine journeys through the
geography of Europe. Here personal stories overlap with imaginary journeys: each
chapter combines two or three names of places, also very distant from each
other, and which often seem to have nothing to do with each other. Kotionis
builds a new psychotropic map of the genealogy of memory like Ulysses that had
images of Ithaca, his home, overlapped to the places he visited from time to
time during his trip along the Mediterranean. But unlike the circumnavigation
of Ulysses, Kotionis' journeys are constellations where lines, shapes and names
generate a myriad of potential and imaginary connections. And yet, while the
journey of Ulysses is cyclical, in Trans
Europe Express every place becomes a pause waiting for a departure in a
non-linear journey.
In the same way, Kotionis' stories do not offer an image to be
contemplated, but many images that are evolving and can be often contradictory.
The narrative of Kotionis in fact avoids any kind of objective description. For
example, his built works are never explained in their entirety, but he refers
to them only for some specific aspects, appearing often somewhere within the test
as necessary counterpoints. It is an attempt to understand more accurately the
principles of the research that are at the base of the architectural process.
In this way Kotionis not only affirms that a project is close to an artistic
practice but that the same writing belongs to design practice.
Multidomes instead is published at the same time with the homonymous exhibition
organized at the Benaki Museum in Athens in 2012. The projects presented are built
with hypothetical software that generates a housing system that grows,
multiplies and adapts to the territory as spores. This system creates a porous,
open and extroverted housing systems. The book is another example in which the
content and the narrative structure fit together. Multidomes are indeed projects built as an assemblage of elementary units (the living cell) and among these
elements there is nothing but space that is a collective and shared space. It is not a simple collection of texts and
works, but it is a narration of the meaning of the multitude. The book opens
with a conversation between the author, Elia Zenghelis, Alexandros Kioupkiolis
and Yorgos Tzirtzilakis, and then develops into an alternation between texts
and projects, in which the sequence actually represents two specific
intentions: at the one hand it avoids hierarchies, while at the other hand it constructs
a network of references between chapters. It does not seem risky to talk about
a semi-lattice structure, which in mathematics indicates an isotropic structure
of points without hierarchies, proposed in the architectural discourse by
Christopher Alexander (1965) and later by Deleuze and Guattari (1975).
The two texts have a common narrative objective: to tell the story of singularities
in parallel with the story of the multitude. Singularity is told with personal
stories, the act of dwelling, the adaptation of the peasant to the virtual
world through laptops, and linked to collective epic poems, such as the risk of
ecological disaster, the evolution of the agrarian world, urbanization
processes, and the alteration of the landscape. This aspect of Kotionis' research
can be placed between two characteristics of contemporary Greece that represent
an antithesis in Greek society. At one hand the epic narrative of the
collectivity that pervades the work of the director Theo Anghelopoulos with the
use of long sequences that embrace the landscape and the wholeness of human
actions. At the other hand the crisis of the bourgeois family described by
directors like Yiannis Economides and Yiorgos Lantimos, in which the whole
story takes place within the domestic environment of the family apartment.
Kotionis does not abandon the epic narration of Anghelopoulos, but he re-thinks
it as an expression of a multitude in which the single event calls into
question every predominant and immutable narration.
The overlapping of the narratives of Angelopoulos and Economides defines
a specific geographic form of the text that links the individual and his
wandering on the earth's surface to the panoramic images of the landscapes. In
1968 the brothers Charles and Ray Eames directed the film Power of Tens, in
which scenes from everyday life - a couple picnicking on a lawn - is the
meeting point between the all-encompassing view from the satellite and the
exploration of internal organisms through the microscope. At each zoom out
through the powerful lens of the NASA satellite the bodies are positioned
within a vast scenario in which are completely absorbed. In the opposite
direction, the microscope explores human cells, analyzing what man is made of.
This rapid change of scale through the use of the machine combines the interior
with the outside, and the biological life of the individual to the Earth that
is in constant evolution.
The text as an assemblage of fragments resembles a series of
disassembled and reassembled frames that are able to superimpose the human gaze
with the mechanical eye of the satellite. Kotionis abandons the zoom as a
linear process and he shuffles and puts together the frames as residual images
of the technological information society. In this way he merges the objectivity
of the digital device to the subjectivity of the human in a new form of
narration.
ALEXANDER C. (1965) – The
City is Not a Tree (trad. it. La Città non
è un
Albero), Architectural Forum, Vol 122, No 1, Aprile 1965,
pp 58-62.
BARILLI R. (1963) – "Dall'assemblage allo spazio
prospettico". Il Verri, nº 12, Edizioni Monogramma, Milano.
DELANDA M. (2016) – Assemblage
Theory (trad. it. Teoria
dell'Assemblaggio), Edinburgh University Press, Edinburgo.
DELEUZE, G. & GUATTARI, F. (1997). Millepiani. Schizofrenia e
Capitalismo. Castelvecchi, Roma.
FRAMPTON, K. (1980) - Storia
dell'Architettura Moderna, Zanichelli,
Milano.
GIANNISI P., KOTIONIS Z. (2012) – The Ark. Old Seeds For New
Cultures (trad. it. L'Arca.
Vecchi Semi per nuove Culture),
Università della Tessaglia, Volos.
KOTIONIS Z. (1998) – To
Erotima tis Katagogis sto Ergo tou
Dimitris Pikioni (trad. it. La questione dell'Abitare nel
lavoro di
dimitris Pikionis), Texniko Epimelitirios Elladas, Athens.
KOTIONIS Z. (2004) – I
Trela Tou Topiou (trad. it. La Follia
Del Luogo), Ekkremes, Atene.
KOTIONIS Z. (2004) – Pes
Mou, Poy Einai H Athina (trad. it.
Dimmi, Dov'è
Atene), Ekdoswis Arga A.E., Atene.
KOTIONIS Z. (2007) – Morfopoiitiki
(trad. it.
Formatività),
Panepistimiakes Ekdoseis Thessalias, Volos.
KOTIONIS Z. (2010) – Trans
Europe Express, Melani, Atene.
KOTIONIS Z. (2012) – Multidomes.
Multitude, commons and
Architecture (trad. it. Multidomes. Moltitudine, commons
e
Architettura), Panepistimiakes Ekdoseis Thessalias, Volos.
KOTIONIS Z. (2017) – O
Anaksimandros sth Foukousima.
Genealogies tis Technikis (trad. it. Anassimandro a Fukushima.
Genealogia delle Tecniche), Ekdoseis Kastanioti, Athens.
KUNDERA, M. (2004). Il
Sipario. Milano, Adelphi, pp. 22-24.
PAREYSON L. (1965), Estetica:
Teoria della Formatività,
Bompiani, Milano.
TURCHI P. (2004) – Maps
of the Imagination: The Writer as
Cartographer (trad. it. Mappe dell'Immaginazione: Lo
Scrittore Come un
Cartografo), Trinity, San Antonio, Texas.
SUPERSTUDIO (1968) – "Superstudio: projects and thoughts"
(trad. it. Superstudio: progetti e pensieri). Domus 473-475.