THEORY

anti-vitruv and super brunelleschi is a relational study and frequently updated archive of experimental utopianism and paper architectures.

in deleuzean understanding, architectural concept can be taxonomised according to ways of expression and becoming:

in his book on cinema, gilles deleuze, commenting on the philosophy of henri bergson, dismisses the conception of cinema as a succession of still photographs. instead he develops a cinematic taxonomy which emerges on matter and memory, bergson’s thesis of an enmeshed human body in the world of matter. deleuze argues that cinema immediately gives us movement-image. figures are not described in motion. rather, the continuity of movement describes the figure (p5). in this respect, cinema embodies a modern conception of movement, “capable of thinking the production of the new” (p7), as opposed to the ancient conception of movement as a succession of separate elements.

the collected images from more or less well known architects and artists will be taxonomised for further analysis. paralleling the cinema-books different ways of spatial montage will create different transversal relational connections in architectural history. this study here, will focus on the evident problem of (p)representation, the reduction of four-dimensional ideas in two-dimensional visual renderings of unbuilt projects. preliminary we might relate

anti-vitruviusm, super-brunelleschi // perception image
computational figures and neo-narcism // affection image
new relationships and machinic desires // impulse image
architecture parlante and pomo-ducks // action image
the modernist and the broken mirror // reflexion image
collage archipelago and false folds // relation image
post-architectural and counter-contemporary // mental image