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Storia e progetto. La dimensione ermeneutica

Paolo Caputo
Arte Lombarda
Nuova Serie, No. 110/111 (3-4), METODOLOGIA DELLA RICERCA ORIENTAMENTI ATTUALI: Congresso internazionale in onore di Eugenio Battisti - Parte seconda (1994), pp. 130-131
Stable URL: http://www.jstor.org/stable/43105513
Page Count: 2
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Abstract

The idea of the project inherent in Battisti's work is evident in his thought, which was never based on closed concepts, and this is an evident sign of his flexible, multi-faceted outlook. And the project (whether cultural, architectural or figurative) cannot work unless in its stages of instability — in time and in space — where forms are generated and risk is always presumed to be a necessary factor in working conditions in that it is innate in the specific nature of the project. Above all, the project is not to be understood as a cognitive process aimed at formulating unequivocal and definitive answers and solutions. On the contrary, Battisti's scientific ability as far as the project was concerned, which was essentially expressed through his hermeneutic activity, was aimed at increasing the number of questions, uncertainties and interpretations of reality and history precisely because his ability conformed to the paradigm of complexity. Battisti never assumed the responsibility for silencing whatever object he was investigating at any particular time. If he had to choose between a re-assuring silence to hide an 'uncomfortable' truth or the risk of giving voice to a 'probable' one, he always opted for the second choice, so firm was he in his convictions that the relation between the real and the virtual is based on variable data, or on 'architecture' which is never definitive, but depends on our choices. And, above all, as he stated in L'antinnascimento, this relation also depends on the insistence « on creating, and hence looking to the past for alternative models for the future — models which are not conditioned by any short-sighted plans for the defence of the status quo or current utilisation. History is thus a network of models, the fuel to 'prejudice', through which the project seeks out and tests the differentials and principal relations between places, forms, signs and languages. Moreover, it is the depth of field through which it is possible to measure space, its continuity, its capacity to express long periods of duration, of being, in other terms, the architecture of time. For these and countless other reasons, Battisti has been the teacher of a generation of militant architects, as can also be deduced from a passage from the new edition of L'antinnascimento, where the historian remembers « countless students who I now find are active as architects throughout Central Italy ».

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