Bibliography
[1]Bruno Latour, conférence “Au tournant de l’expérience”, Cité de l’Architecture, Paris, 12th June 2016.
[2]Upon arriving in exile in the United States in 1946, Walter Gropius, creator of the multidisciplinary experimental pedagogic approach of the Bauhaus, established, together with Marcel Breuer and their new generation of Harvard students, the TAC, “The Architects Collaborative”, as a manifesto of a “a profession which employs collective design in the service of society.” See Walter Gropius “Architektur”, Fischer Bücherei, Frankfurt 1956.
[3]Locus: the at once singular and universal relationship between a certain specific location and the buildings that are in it. Aldo Rossi “L’architettura Della città”, Clup, Milan 1966
[4]See Carl Gustav Jung, Approaching the Unconscious, in Man and his Symbols, Dell Publishers, New York, 1964
[5]… or, like Rossi beautifully puts it: “The biography of a city is written analogously between the lines, in a fabric of feelings.” Aldo Rossi, The Analogue City, in The Architecture of the City (1966), with an introduction by Peter Eisenman, English edition, MIT Press, Cambridge, Massachusetts 1982. The concept of analogy is borrowed, like the previous Locus concept, by Christian Norberg-Schulz in Existence, Meaning and Symbolism, in Meaning in Western Architecture, Electa, Milan 1974, English edition Rizzoli, New York, 1980
[6]See Juhani Pallasmaa, The eyes of the skin: Architecture and the Senses, John Wiley & Sons, Chichester, 2005
[7]In my radicant studies of the public realm I use the analytical methods of Lynch (1960), Jacobs (1961), Rossi (1966), Alexander (1975), Frampton (1983) or Gehl (2011), combined with SWOT and stakeholder analysis. All design proposals are exclusively developed through making models up to the scale of 1:1, in wood, cardboard, earth or recycled materials.
[8]Jane Jacobs, The death and life of great American cities, Vintage Books, New York, 1961.
[9]Hannah Arendt, The Human Condition, University of Chicago Press, Chicago, 1958.
[10]Richard Buckminster Fuller’s proto-types for proving “systemic forces through economic efficiency”, Christopher Alexander’s universal pattern-tool-box for compositions “at the service for all”, Giancarlo de Carlo’s consensus-based design method to name but a few.
[11]The idea of the open work was subsequently developed by Umberto Eco during the 1960s: artistic or literary works were purposely left unfinished, generating an “openness” of interpretation The author invited his public to participate through an “open end” and the interactive process of creativity and transfer of interdisciplinary knowledge could start. See Umberto Eco, Opera Aperta, Bompiani, Milan 1962, English edition The Open Work, Harvard University Press, Cambridge, Massachusetts, 1989.