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By Lawrence Venuti, Aldo Rossi
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Extra resources for A Scientific Autobiography
Like the Tempio Malatestiano in Rimini or Sant'Andrea in Mantua, because there is something in them which cannot be modified and which simultaneously re-engages time. The signs of people and objects that are without meaning, that supposedly are changeless—in fact they do change, but the change is aKvays so ten-ibly futile. Change is within the veiy destiny of things, for there is a singular inevitability about evolution. Perhaps it has to do with the materials of objects and of human bodips, and hence of architecture.
This passage has always seemed quite important to me, not only for architeeture, but for the sciences, arts, and technologies as well, Here the idea of anatogy is represented in a way that is very different from Jung's definition, which I have written about elsewhere: it refers to things we know nothing more ofthan the result, just as the contour lines refer only to the actual, if impenetrable, life of an anonymous surveyor. >gfitliouse, Na>itucket. This is one meaning ofthe project which has always interested me particularly, and which perhaps gives a meaning to these notes of mine.
I always thrnk of a place in a particular way. Certainly in any glven place many thmgs come together; a place presents itself as a result of many observations: the panorama from the balcony, the flowing water, the drift of the conversation. " Perhaps only through a kind of inattention, the most benevolent form of betrayal. is one faithful to a piace, to what ultimately changes very slowly. Every midsummer evening has its companionship and its solitude, and the architect or the playwright must grasp the broad outlines of a sceiie quickly, because he knows that the eharacters and even their feelings may change, or that in any case the representation will be different in time.
A Scientific Autobiography by Lawrence Venuti, Aldo Rossi