Introduction
The
issue of relationship between storytelling and
architecture is very fascinating and full of fruitful implications. The
word
and the architecture move on two different levels and, often, very far
away:
however, the so-called architectural ékphrasis
exists thanks to the skilful combination of a discourse that must be
coherent
with the architecture itself. In this sense, on at least two occasions
and
through two very intelligent essays, Forme
dell'intenzione (2000) and Parole
per
le immagini (2009), Michael Baxandall has opened a possible
way of reading
the relationships established between words and artworks. In short, the
British
art historian directs a reasoning about narrative language (whether
understood
as a description or as an explanation) that is generated from a work of
art.
Obviously, the reasoning, mutatis mutandis, can be easily transferred
to
architectural works, with all the implications that also derive from
the social
dimension and civil function that architecture plays in the human
consortium.
From this perspective, the key issue becomes understanding the complex
and
sometimes problematic, relationship between words and concepts, on the
one
hand, and architectures, on the other. This relationship must be
deepened and
critically problematized to understand, and possibly avoid, a
phenomenon that
is quite typical of our time: words and things seem to have separated
from each
other and, in some cases, the subtle and ineffable connection that
related the
words and the buildings seem to have disappeared.
A famous
tale speaks of the non-existent clothing of an
emperor, who had allowed himself to be convinced of his real existence.
In
fact, the narration that he had heard of his lying tailors had worked
and,
therefore, the emperor believed that he wore a beautiful clothing;
those who had
not heard the narration of this story perceived reality in a very
different
way. Here, therefore, a case ante
litteram of storytelling in which it is demonstrated that an
insurmountable
abyss between architecture and narration can be opened. In fact, the
narrative
can be very far from the physical, social and civil reality of the
built space.
Architecture has an unavoidable material and social dimension and, in
addition,
very concrete and not very abstract.
It would be easy to construct an ideological discourse in which the
narrative,
as fiction, is presented as actually foreign to the discourse of
architecture
and as Roscellino di Compiègne said, the concepts are
reduced to flatus vocis,
that is, a simple emission of a sound. However, man exists because he
is the
object of a narrative (Gargani, 1999); the life of all of us is made up
of
stories. The architect who goes beyond the pure instrumentality of
architecture, injects in his works a vision of the world and,
therefore, also a
complex interrelation of stories. After all, architectures, especially
good
architectures, are embodied stories, or works made from stories that,
in turn,
build a story.
Today we
are immersed in an era that has changed its
cultural reference paradigm: modernity and its grands
récits are in crisis, and now we have to
reconstruct thought
through the remains of a cultural and theoretical shipwreck. Perhaps we
can
cling to the pieces of ships that are no longer recognizable as such;
and
dispersed in the immense sea of liquid theories of our time, we can
try to build a
“story”. These woods are
“pieces” of stories, small metaphorical vessels
that
allow us to navigate at sight to build a horizon of plausible meaning.
Leaving
aside, for once, the architect’s lenses, often too caught up
in their
disciplinary language - and changing them with new ones - perhaps we
can
discover a reality made up of concrete and coherent words with
architecture.
Perhaps we will discover a world of live metaphors (Lakoff, Johnson,
2007) that
produce a meaning and contribute to multiply and increase the
dimensions of
architecture, recovering another depth in the things and space in which
we
live.
Adequatio rei et intellectus
The
relationship between words, narration and things is
very complex, due to the essence of the elements. The nature of words
and the
nature of reality are ontologically different; these two entities
differ in
time and space. In fact, while the events of reality (and in
architecture, in
our case ...) are multiple and synchronous, their representative
description
can only be linear and diachronic, like the words that are one behind
the
other, in a straight line of a sheet of two-dimensional paper.
This insurmountable limit between these different entities has been the
subject
of debate for many centuries. The drama of man fallen from Eden is that
words
and things are no longer totally coincident; the unbridgeable hiatus
between
them has always been the fault of man – earthly and material
being – who is not
always able to “seize” the meaning of reality
completely. Thomas Aquinas was
one of the first to speak of the adequatio
rei et intellectus, that is, of the adhesion of ideas to
reality, or of the
correspondence between the real object and its linguistic and
conceptual
representation.
Obviously,
since we are not philosophers or semioticians
who, with a propensity sometimes analytical and other continental, aim
to give
a more or less certain answer to the subject, we remain on the edge of
this
fascinating battlefield. However, from this battle we try at least to
understand the consequences and the effects it implies on the
representation –
critical and theoretical – of the world of architecture. The
architects move in
a field that needs to be very close to reality. The excessive
“philosophical” abstraction,
which sometimes we do not know how to handle, makes us build a
theoretical
castle that is only the pale reflection of the architectural and urban
reality.
In this sense, the lesson of Michael Baxandall is illuminating and is,
in a
way, a model that we can partially apply to architecture. The objective
would
be that the world of words that speak of architecture does not remain
completely distorted and deprived of meaning.
The
Baxandall’s method
It is
very fascinating and intriguing the system of
reading works of art developed by Michael Baxandall that, as we have
already
widely anticipated, can be applied, in a kind of
“disciplinary” transfer, to
the architectural narrative.
The sixth chapter of Parole per immagini,
in which the British art historian deals with the Laocoon described by
Jacopo
Sadoleto, is exemplary. In
it Baxandall
raises a series of questions that are summarized in the last pages of
this text
dense and that, in our opinion, it is worth mentioning here:
«What do our descriptions of a work of art cover? Evidently
experience of the
work rather than, directly, the work itself. But how far is it the
narrative of
an experience in progress and how far the map of a state of mind after
having
had an experience?» (Baxandall, 2009, p.136).
Further
on, Baxandall says: «How to control slippages
between interpretation and ekphrasis – that is, between the
object treated as
present to the reader and the object treated as absent – when
its real
availability to the reader is unstable?[…] In our time this
seems very much a
problem about the half-presence or pseudo-presence of objects in
degraded or
miniaturized or diapositive reproduction» (Baxandall, 2009,
p.136).
The
observations of Michael Baxandall, even in his
brevity, open the doors to a universe of ideas that in itself deserves
an
essay. However, we try to focus our thoughts on the issues that seem
inevitable
to us and we try, therefore, to reformulate the Baxandallian questions.
We
could replace the term “works of art” with the
expression “architectural works”
and focus our attention on the main theme that is behind all our
reasoning,
that is, the narrative of architecture.
We could
ask ourselves: what do our narrations of
architectural works describe? First, like Jacopo Sadoleto, the
critical/descriptive
narrative around the architectural work is displaced – in
time and in space –
in comparison to the work itself: it was born afterwards and was born
to define
a direct or mediated spatial experience (through objects miniaturized
or
diapositive reproduction, Baxandall would say ...). Verbal language has
an eye
and body experience, but it also includes other narrative experiences
that
history often refers to. Hence, the comparative
“games” that, however, run the
risk of getting away from work: they intertwine with each other and
combine
with certain agility, since they are homologous languages. As we said
before,
in fact, grammars and compositional structures govern the linguistic
system of
work itself and the verbal system, including irreducible ones.
From
these considerations arises the second question,
also generated on the basis of Baxandall thought: how is it possible to
control
the deviations between the field of interpretation and that of the
description
(which is "simply" the verbal representation of the architectural
work)? Here, the terrain begins to be slippery. Narrative fragments are
often
introduced into ékphrasis, causing an inhomogeneous
representation. From our
point of view, however, the Baxandallian theory has consequences that
can be
almost nihilistic, since they could lead us to the conclusion that the
work of
art is almost “unspeakable”. In this way, the
verbal language that represents
the work could not capture the deepest essence of the works to which it
approaches. On the other hand, the same Baxandall in the essay
dedicated to the
Resurrection of Christ by Piero della Francesca, towards the end of his
fascinating reading of the painting, seems to withdraw from the battle
to
declare a kind of renunciation of interpretation, rather than a defeat.
“This
adds up to rather little one
can actually say, all of it obvious but even so not all verifiable in a
way
that would prevent art historians from pursing their lips”
(Baxandall, 2009, p. 190).
Micro-récits
The
narrative, in our opinion, can offer an escape and opening
to other modes of representation that allow the construction of various
descriptive and cognitive models of architecture and the city. Here,
therefore,
the role of the architect as the narrator can be central. In fact, he
may be
able to configure the physical space, but also to mold the collective
imagination. Narration is a fundamental act of the human being, which
exists
also through history. Architecture, especially in recent decades, has
not
escaped this narrative condition. In fact, having experienced
dramatically,
like other disciplines, the decline of the so-called grands
récits, architecture has gradually abandoned
global
theoretical systems. The monolithic theoretical corpora
have gradually disintegrated, even to become micro-récits
(small stories), fragments
of stories or even minimal narrative that try to agglutinate around
specific
themes. The great theoretical frameworks give way to short narratives.
Moreover,
these narratives allow, in our opinion, to go beyond the obstacle posed
by Baxandall.
The micro-stories allow us to build an area in which these verbal
concepts also
become stories and metaphors.
In this
sense, a few years ago, in the Sunday supplement of “Il
Sole24ore”, a good review of a book by Hans
Blumenberg (2011) appeared, which explained how the reality that
surrounds us
cannot be narrated only through conceptual and verbal constructions,
because
concepts are devices that allow objectifying something that is not
present
immediately for sensitive perception. This conceptual objectification
becomes
necessary in social communication: «But it is not realistic,
warns Blumenberg,
because by reducing reality in concepts, we believe in clarifying it.
Instead,
we lose a large number of non-transformable elements in concepts that
are part
of the “totality” in which we live. The philosopher
recounts his difficulty
when, in 1972, he was invited to scientifically explain his concept of
“world”»
(Li Vigni, 2011). Blumenberg maintains that the expression
“world” is so vast
that it can only be used metaphorically. All the reality that surrounds
us is
“absolute metaphor”, and only partially lends
itself to conceptualization: this
is what the German philosopher defines as the triumph of inconception.
Li Vigni
says: «In the perception,
representation and communication of life, the concept and the metaphor
play,
therefore, complementary roles. The analogical power and the figurative
capacity of metaphor are the basis of linguistic creativity [...].
Copernicus
would never have imagined his solar system if he had used the concepts
available at that time and would not have dared, metaphorically, to
unthinkable
situations» (Li Vigni, 2011).
Narration
as a tool to describe,
define, represent and theorize architecture, has a strong heuristic
function,
because it allows us to build a cognitive and representative system
that is
more open, less rigid, and more suitable for constructing metaphors
that are
closer to the essence of the works.
Stories
have the ability, in
comparison with linear descriptions, to move through the pattern of
correspondences. The linear and progressive discourse always places us
clearly,
through spatio-temporal coordinates, in a place or in a sequence of
times and
places arranged linearly. However, reality moves in many places at the
same
time, its complexity is intertwined and highlighted and cannot be
reduced to
simplifying schemes. The narrative contributes, on the other hand, to
the construction
of the multiple and «it is so that the discourse, the history
and tragedy multiply
the energies of thought, moving the subject in the path of the
unconscious»
(Rella, 1987, p.18).
The
unity of place, action and time
of Aristotelian origin, forces linear representations that reduce the
scope of
architectural reality. Stories that overlap, diverge towards other
stories and
explore even different territories. These stories allow us to open new
horizons, since they have a much stronger heuristic load. A linear
representation, guided by a clear central idea (the main tone of the
composition) already knows where to get: it is a deterministic
development,
based on secure elements.
To
explore, even in architectural
criticism of contiguous domains, to move towards different registers
(artistic,
aesthetic, socioanthropological, economic, etc.) allows a holistic
vision.
Because architecture is not built by one hand.
Rem
Koolhaas: the lesson of a storyteller...
Those
who had the opportunity to have
Rem Koolhaas’ books in their hands will have realized the
enormous difference
that exists between them and most other architecture books. In
particular, S, M, L, XL (1995) is a
true explosion
of narrations coming from completely different fields: from travel
notes, comics,
to a dictionary that meets the most different definitions and yet
maintains a
relationship with the world of architecture. The book, written in
collaboration
with Canadian designer Bruce Mau, is a “wild”
cocktail of pixelated
xerographies, homemade comics, pop quotes and extravagant typographic
characters that challenge the dominant pomposity of the
architect’s profession.
However,
although presented in this
seemingly superficial way, Rem Koolhaas tells stories that surpass what
– with
snobbery – someone could define as the quintessence of a pop
culture. It is a
very far away from the pompous theorizations of the 60s and 70s.
Koolhaas
breaks that system and proposes an equally sophisticated one: a system
in which
narration is often the absolute protagonist. The psycho-narration of
“Manhattanism” by Delirious New York (1978) is a
clear example: even today,
four decades later, that book constructs a story that, by adding
fragments of
other stories and pieces from other disciplinary worlds, opens towards
a multiple
and complex reading of an urban, economic and social phenomenon, such
as New
York. Koolhaas offers stories (in the narrative sense of the term) with
which
you can agree more or less. However, these stories allow us to
reconstruct a
new horizon of meaning, if we accept the narrative pact that Koolhaas
stipulates with the reader. It is a different and distant dimension of
classical theorization and representation; it is a narrative dimension,
in
fact, in which the sophisticated game of references, metaphors and
quotes is
part of the flow of architecture that is, in itself, an open system
composed of
many questions and themes.
An
example is clearly represented by
a comic drawn inside the book S, M, L, XL.
The issue addressed by Koolhaas is that of the relationship between
investors
and architects. Instead of writing a complex text that defines the
balance of
power between these two key players in the world of construction, the
Dutch
architect prefers to be represented in a comic as a kind of Hulk
fighting
against investors. Beyond the doubts that these modes of representation
can be
generated, the fact that we are in front of a very different narrative
strategy. Moreover, this strategy has had a great echo and a great
influence in
the world of architecture: it is not a case, in fact, that the book on
the
evolution of modern architecture of the Danish studio Bjarke Ingels
Group
(BIG), Yes is more (2011), is built
as a comic story.
The
narrative construction of architecture
To
conclude, let’s try to understand
what role narrative can play in the disciplinary field of architecture.
The
compositional structures of
architecture, despite their profound difference, have a certain
analogical
relationship with the structures of the narrative. Narrative
strategies,
therefore, are adequate for the critical and theoretical formalization
of
architecture, which often, to be explained and understood, must go
beyond the
narrow margins of the usual communications.
We have
seen, from the ideas of
Michael Baxandall, that it is difficult to maintain a direct
correspondence
between language and reality; this consideration helps to redefine the
“classical” representations and forces the practice
to a new awareness of
reality: the idea of a constructive dimension of interpretations and
praxis
begins to open the way. The truths lose their absolute character to
acquire the
value of «principle of articulation and structuring of
experience» (Gargani,
p.132).
We can
say that the contemporary
architect behaves like a kind of sense-maker: he constructs systems of
meaning,
in which there are some non-absolute truths; but they have a
«constructive and
historical-temporal character, therefore discontinuous and
heterogeneous» (Gargani
p.113). Probably, this is the task of a critique and a theory of
architecture
that wants to follow the thousand streams into which the discipline is
divided.
The storytelling, although it has to follow a linear system because
this is the
order of the words, allows a complex, varied and open reading, which
takes
charge of the multiplicity of the architecture that moves between the
thousand
plateaus of reality in which is.
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Sulla spiegazione storica delle opere d’arte.
Einaudi, Torino.
BAXANDALL M. (2009) – Parole
per le immagini. L’arte rinascimentale e la critica.
Bollati Boringhieri, Torino.
BLUMENBERG H. (2011) – Teoria
dell’inconcettualità, :duepunti
edizioni, Palermo.
BURGIO G. (2014) – “Lo spazio e la parola.
L’architettura e il suo doppio”. In: GARDELLA J. e
JAMES H.
– Visioni di
Venezia. Torri del Vento Edizioni, Palermo.
CASARI R., LORANDI M., PERSI U. e RODRIGUEZ AMAYA F. (1996) –
Testo letterario e
immaginario architettonico. Jaca Book, Milano.
GARGANI A. G. (1999) – Il
filtro creativo. Laterza, Roma-Bari.
BJARKE INGELS GROUP (BIG) (2011) – Yes is more. Un archifumetto
sull’evoluzione dell’architettura,
Taschen, Colonia.
KOOLHAAS R. (2001), – Delirious
New York, Electa, Milano.
KOOLHAAS R., MAU B. (1995) – S,
M, L, XL, Monacelli Press, New York.
LAKOFF G. e JOHNSON M. (2007) – Metafora e vita quotidiana.
Bompiani, Milano.
LI VIGNI A. (2011) – Il
mondo come metafora assoluta, in: “Il
Sole24ore”, 9 gennaio.
RELLA F. (1987) – Limina.
Il pensiero e le cose, Feltrinelli, Milano.