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| [Continuous Monument, Superstudio 1969] |
Space and body are born in itself devoid of any ornamentation.
the dawn of humanity spaces were defined by the very nature that drew glades, caves, alcoves and plains. The definition of space (defined in this paper as processing the world) and the body has significant progress by then, of layers of customs and traditions.
The event has particular connotations of such an operation particularly influential cultural life of men and as such needs to agreed rules and mode of action.
The consistency of these representations (understood as a construction and interpretation), thus becomes central because they depend hoped the social order.
same token it is also possible to interpret the huge amount of studies on organization of space and physics at the time of the great empires such as the great totalitarian regimes. (Galimberti)
from the body by a space and "unity" as the house, which has always been the essential reference point for humans, it is possible to study how the importance of public representations have invested (and covered) with ornaments, furniture, decorations and every room, where they intensify the meanings of public display is greater.
space and body are not subject therefore never practices but rather uninterested in both you can see the most important tricks of the practices of reproduction of society.
The body acts as a tool capable of bringing the idea to its actual completion, but this too can be decomposed into a part of conscious and unconscious or construction.
Continuing analysis always representations invest more space and body. The streets, squares, are the syntax of a clear plan, a coherent idea or an idea (current) history.
solidify customs and expectations of a society, are the stage where the masses and actually perform, generally speaking, public space is almost always stage as other than the construction of the representation.
The methods of public education are obviously much more complex, but involve a large measure spaces and bodies and the organization of time.
be out of place is therefore an expression that indicates the consistency required for proper representation and is a status that can be lived with militant nonconformity or piercing existential malaise. The inclusion in a group or a community is seen, for example through the use of certain clothing or frequenting certain places.
may happen then that a consistent representation as to cause an identification harness situationism bodies and transformability places.
The fixity that results is harmful for both, and both react with specific ways that cause deterioration, neglect or vandalism.
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| [Piazza Venezia, historical photos] |
Taking as an example the case of Piazza Venezia, Rome , which was one of the central places of the representations of the power of the past century, one might venture an interpretation of this kind:
His institutional role began in 1882 when it was decided to build the monument to Vittorio Emanuele II. The square assumes a strong representative meaning that is manifested in its consistency with symmetrical treatment of the planimetric, with the hierarchy of roads and the alignment of the sights in a proper nineteenth-century style.
With the removal of the body of Unknown Soldier of World War I, the square is enriched with an "altar of the fatherland" and thus becomes a destination for events and national honors.
During the years of fascism, Mussolini moved the seat of its headquarters in the hall of the Palazzo Venezia and globe cries from his proclamations the palace balcony overlooking the square. The square became the Headquarters. The direct relationship with the highest pinnacle of the party is through a balcony.
The last sign is therefore this strong and consistent. The square has not been redesigned since then and the over-representation of coherence inscenatevi perhaps have caused the abandonment of the space for a mere roundabout.
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| [view of the excavations for archaeological investigations at Piazza Venezia] |
remains, however, the strong symbolic meaning of the balcony and still receives greetings Roman ovation.
What powers or uncomfortable feelings such as the redesign of Piazza Venezia? How to change the space power today? The metro has only C for now unearthed artifacts, has only rediscovered what had been covered a few decades ago, and the archaeological project for a meter would seem more the desire for a confrontation with a past of which we know very little and that little could challenge our decisions.
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