胡安·羅曼/Juan Román

尚晉 譯/Translated by SHANG Jin

塔爾卡立方

胡安·羅曼/Juan Román

尚晉 譯/Translated by SHANG Jin

本文在沒有指明互文性的背景下，在前文中闡明其主旨在于揭示建筑師與地域之間可能的關聯(lián)。正是這種互文性的邏輯讓作者引入他人在多元化領域中的照片和文字，隨后與表達再現(xiàn)的裝置融為一體，以此為線索解決在建筑師與地域之間的關聯(lián)上，“規(guī)劃”作為動詞被棄置時出現(xiàn)的問題。

智利，塔爾卡，建筑學，本土，塔爾卡大學，地域，景觀，規(guī)劃

1

與地域關聯(lián)的方式可謂數(shù)不勝數(shù)，每一種方式都可以由一個動詞表述。動詞表達的是主體的狀態(tài)與行為，在主體與地域之間建立起正反的雙向聯(lián)系。例如，保護、利用和入侵這些動詞，放在主體與地域之前就會限定二者，并將主體轉(zhuǎn)化為名詞、地域轉(zhuǎn)化為形容詞：保護性主體與被保護的地域，利用性主體與被利用的地域，入侵性主體與被入侵的地域等。

按照上述法則即可推導出動詞在限定建筑師與地域時的問題。而在論及建筑行業(yè)與地域時，建筑師的規(guī)劃責任卻被忽視了。換言之，“規(guī)劃”這個動詞不應作為上述問題的答案，因為它意味著建筑師將會“規(guī)劃”地域，而這幾乎是根本性的錯誤。同理，規(guī)劃被視為一種不同于以上的職業(yè)，它促使人們?nèi)W習建筑并從事設計。考慮到其普遍性的事實，規(guī)劃的時代與行業(yè)的日常性和地域都相去甚遠。

2

那么，我們就要去尋找一塊邏輯的試金石，既不脫離建筑師的方法，又遵循這一領域?qū)π螤詈退急嬗篮愕淖晕易非?。這種思辨通過否定謬誤將讓場所回歸其特征創(chuàng)生的過程。

“散步”一詞在這里可以不表達感覺或方向。它的含義在很大程度上不過是在所處的空間中行走，即出發(fā)時的空間。所期望的也不過是讓自我驚于歸意油生的那一刻。

對于任何既有的地域，在提出上述“保護”、“利用”和“入侵”等動詞時，存在一個開放的空間。這種動詞同時暗含著一個能完成該動作的主體人：保護者、利用者和入侵者。草圖的形成正如動詞向名詞的主動轉(zhuǎn)化過程，每個主動的名詞都會被一個領域所取代，而這個領域?qū)岩曇芭c能力聯(lián)系起來。

在這個位置上，“居住”就是一個好詞，一個好的動詞，不是因為它暗含著一個居者，而是因為塑造出宜居的空間是建筑師特有的能力。

同樣地，“居于此地”從文化上限定了一個好的行為空間，因為“居住”本身與“居于某地”的含義不同，它更豐富、更復雜?！熬幼　北磉_了一個主體，而“居于某地”包含了主體和表語，并激發(fā)出一種文化的視角。

2.1

自有人居住起（不論是依靠回憶這種軟關系，還是采礦這種硬關系），就存在一種與分級甚至規(guī)劃相聯(lián)的關系，就能看到這種共存的互利效應。換言之，地域是一種重建物。[1]

上述文化視角將地域視為建造物，這種被限于其內(nèi)部的表達有一種不帶社會質(zhì)疑的發(fā)展觀念。它以發(fā)展的前后作為一個過程的兩端，不是在保存過去的元素，而是從尊重文化的未來項目中找尋意義。因此，這就是意在創(chuàng)造現(xiàn)實的建造。

2.2

事實上，地域根據(jù)領域的不同有很多定義：法學家只看到主權及其衍生出的權利；管理學家看到的則是地質(zhì)、地形、水文、氣候、森林、作物、人口、技術基礎設施、生產(chǎn)力、法制體系、行政區(qū)劃、全國財政、設施網(wǎng)絡、政治問題、城市/居民等多種因素，而這不僅是相互關聯(lián)的總和，更是一種動態(tài)的干預。在這簡單與復雜的兩極之間是其他多元化的定義：地質(zhì)學、社會學、民族志學、文化歷史學、動物學、植物學、氣象學等。[1]25-26

對于建筑，各種以公里為空間概念的定義大致都是共同的，而地域被視為無維度甚至多維度的圖像。它的延伸不是以卷尺測量的，而是與科爾博茲提出的語義化以及各種當代矛盾有關。

1 約翰·福特在紀念碑谷/John Ford in Monument Valley

1

There has got to be many ways of relating with territory and each one of those ways is to be enunciated by a verb. The verb, that word that expresses the action and state of the subject, will mediate between the subject and the territory and probably symetrically, between territory and subject. Protecting, exploiting and invading, for instance, are verbs that when placed between a subject and a territory manage to define both, turn the subject into a noun and territory into an adjective: protective subject and protected territory, exploiter subject and exploited territory, invasive subject and invaded territory and so on.

With the previous formula the problem of verb definition that mediates between an arquitect and territory is then presented. The planning role that is atributed to the arquitect when it comes to talking about profession and territory is then omited. That is to say, the verb to plan would not be part of the answer key to the problem as its adoption would mean that the arquitect would in fact plan the territory, which is completely arguable if not false. In the same way, planning appears as a vocational option even different from the first option that drives a person to study arquitecture and then to exercise as such, paying attention mainly to the fact that due to their extensiveness, planning times are distant from the profession's cotidianeity and territory.

2

We would then be in a search that promotes a testing logic not too far off from the arquitect's method and of a discipline that by constantly questioning itself about the shape of things, appeals to considerations and reflexions that tend to be wrong and that as a result, tend to be corrected giving place to the creative process they are characterised by.

The expression "going for a walk" can be used here as an expression that does not refer to sense or direction, and whose specific objective hardly talks about walking in a space other than the space one is in, the space which one starts from, without much expectation other than allowing oneself to be surprised by cultivating perhaps an idea for the return.

There is then an open space when thinking of any given territory to propose verbs such as protecting, exploiting and invading as previously mentioned. Verbs that when placed automatically in such way suggest at the same time the figure of a protagonist that is capable of carrying out that action: a protector, and exploiter and an invader. Cartoons that rise due to the automatism of turning the verb into a noun, under the circumstance that each one of those automatic nouns should be replaced by a discipline and by a profesional whose scope and competences that action is counted between.

Once placed there, "inhabiting" then seems to be a good word, a good verb, not because it supposes an inhabitant, but because figuring out the shape of an habitable space is within the specific competences of an arquitect.

In a similar sense, the expression "Inhabiting the territory" seems to define a good action space culturally speaking, as "inhabiting" on its own, has different connotations to the ones suggested by "inhabiting a territory", which are richer and more complex. "Inhabiting" presents a subject, whereas "inhabiting a territory" seems to involve a subject and a predicate, what by itself, stimulates a cultural perspective.

2.1

From the moment in which a population occupies it (whether it is through a slight relationship, such as recolection, or a hard one, such as mining extraction), a relationship that has to do with ordination or even with planning is then established, and the recyprocal effects of this co existance can then be observed. In other words, the territory is a reconstruction object.[1]

The cultural perspective above mentioned relates to territory as a construction object, given that such expression locked in its interior, contains the notion of a development without social questioning that determines a before and an after as extremes of a process which does not conform with keeping elements from the past but that rather finds its sense in a future project that demands how to do's in line with culture. Hence, a construction meaning that talks of constructing a reality is then obtained.

2.2

As matter of fact, there are many definitions of territory as related disciplines to it: the one by jurists only refers to sovereignity and competences that derive from the same; the one by management specialists instead, takes into account diverse factors such geology, topography, hydrography, climate, forest cover and crops, populations, technical infrastructures, productive capacity, judicial order, administrative divisions, national accounting, service networks, political issues and towns/ dwellers just to mention a few, not only in the totality of its interferences but dynamically, in virtue of an intervention project. Between these two extremes- what is simple and the hyper complex－a whole variety of other definitions is placed: the ones corresponding to geologists, sociologists, etnographists, culture historians, zoologists, botanists, meteorologists, the major states.[1]25-26

When it comes to architecture, several definitions, that in general share the idea of space of kilometrical dimensions can be found, while territory is considered an adimentional imagery, or even better, multidimensional, given that its extension is not only defined by a measuring tape but rather by that semantisation mentioned by Corboz, as well as by contemporary contradictions.

Perception is the image that the observer creates of the facts that surround him. It is an inherent result of these facts, of the capturing made by the observer's senses and of the referents and prejudices the observer considers them with. Starting from perception, the observer constructs his own concept of reality, hence it is always subjective. Albert Einstein, whose rigourously scientific attitude would not be questioned by anyone, clearly expressed: "Facts are facts, but reality is its perception".Things are just what they are, but they are seen according to the way they are looked at. Territorial reality is then nobody's perceptive patrimony[2].

It is therefore necessary to question even if briefly, territory reality starting from photography showing John Ford in Monument Valley. Although the author of this material remains unknown, it displays an article about "The searchers", a film released in 1956, translated into Spanish as Centauros del desierto. The photography, maybe because of its misfortune, makes us question the relationship between Ford and Monument Valley, in terms of how much they owe each other and if by talking about Monument Valley we mean the territory today included in tourist routes of Utah or that where the drama of Centauros del desierto takes place, one of Ford's movies through which such territory became famous world-wide, as part of an imagery created by Ford himself, enough to the creation of even another territory, which is the "Comanche territory" and whose characteristics are defined by Perez- Reverte, author of the book with the same name, as the territory where "although you may not see anyone you know you are being observed", definition that appeals to an image also instaured by Ford and that, insisting on the reality of the territory, makes us ask ourselves: What is being talked about when we refer to Monument Valley?

The cinema reference made through John Ford, uses the narrative, cinematographic narrative in this case, as a way of representing territory that's usually used to seek in different areas to those determined by that definition that attributes territory to kilometrical dimensions.

3

The eagerness to find a verb that can mediate between the arquitect and territory finds clues through representation and through narrative a key.

3.1

Many are the existing narratives. There is firstly, a prodigious variety of genres, which are distributed between different substances as if all matter was good to men in order to confide its narratives: the narrative can be supported by articulated language, oral or written, by an image, whether this is fixed or mobile, by gestures and by an orderly combination of all these substances; it is presented in myths, legends, fables, tales, novels, epic, history, tragedy,drama, comedy, pantomine, a painting (consider Saint Ursula de Carpaccio), vitrals, cinema, comic strips, police news, conversation. Moreover, in these forms, almost infinite, narrative is always present in all tenses, all places, all societies; a narrative begins with the history of humanity; there isn't and there's never been any peoples without narratives anywhere, all classes, all human groups have their own narratives and these are very often tasted both by men of a diverse and even opposed cultures; a narrative makes fun of the good and bad literature: international, transhistorical, transcultural, there narrative is there, just like life.[3]

感知是觀者依身邊的事實形成的印象。這是事實的內(nèi)在產(chǎn)物，是觀者的感官所捕捉到的，并折射出觀者心中的關聯(lián)與好惡。從感知出發(fā)，觀者營造出自我的現(xiàn)實概念，所以它必然是主觀的。愛因斯坦嚴謹?shù)目茖W態(tài)度是毋庸置疑的，他曾經(jīng)明確表示：“事實就是事實，而現(xiàn)實是對它的感知。”事物就是其本身，但印象會受到感知方式的影響。因此地域的現(xiàn)實就是不屬于任何人的感知遺存[2]。

那么就有必要對地域的現(xiàn)實提出思考，比如約翰·福特在紀念碑谷的照片。盡管它的作者至今不詳，照片出現(xiàn)在一篇關于1956年的電影《探尋者》的文章中。該片的西班牙語譯名是《沙漠騎兵》。由于無法通過其作者判斷，這張照片引發(fā)了我們對福特和紀念碑谷關系的思考，它們之間是誰占主導。對于紀念碑谷，我們今天所謂的地域指的是否包括猶他的旅游線路，還是福特的電影《探尋者》的拍攝地？這部電影讓該地聞名于世，也成為福特為他自己塑造的一個形象。而這足以創(chuàng)造出另一個地域，即北美印第安科曼奇族的地域。其特征來自同名書的作者、西班牙小說家佩雷斯-雷韋特——“四野無人，你卻知道自己已被盯上”——福特對這一畫面也有新的闡釋。從地域的現(xiàn)實出發(fā)，我們不由自問：紀念碑谷究竟意味著什么？約翰·福特在電影中的敘述是再現(xiàn)地域的一種手法，它經(jīng)常被用于各個領域?qū)锛壍赜蛱卣鞯奶剿魃稀?/p>

3

對聯(lián)接建筑師與地域的動詞的探索，會從對關鍵點的再現(xiàn)和敘述中找到線索。

3.1

既有的敘述多種多樣。首先是各種物質(zhì)帶來的豐富多彩的形式，仿佛一切事物都可以為人的敘述所用。敘述可以用清晰的語言表達：語言、文字、圖像（不論靜態(tài)或動態(tài)）、姿勢，及其合理的組合；神話、傳說、寓言、故事、小說、史詩、歷史、悲劇、正劇、喜劇、默劇、繪畫（如卡爾帕喬的《圣烏爾蘇拉》）、彩色玻璃、電影、漫畫、警訊、對話。此外，在這些形式中，敘述幾乎是無限的，存在于所有的時態(tài)、所有的場所、所有的社會中。敘述與人類的歷史同源。無論哪里都沒有、也從未存在過沒有敘述的民族，一切階級、一切群體都有自己的敘述，在多樣化的人群乃至對立的文化上都能感受到。敘述會嘲諷良文莠語：跨國、跨歷史、跨文化，敘述總是存在的，正如生命一樣。[3]

敘述包含在最多樣化的表達形式中，比如，神話、傳說、寓言、故事、小說、史詩、歷史、悲劇、正劇、喜劇、默劇、繪畫、彩色玻璃、電影、漫畫、警訊、對話，而建筑也在其列。

3.2

現(xiàn)代的觀察法是看碎片。[4]

從與地域內(nèi)涵相聯(lián)的多元化條件出發(fā)，會看到碎片式的幻象，有時又是包羅萬象的。其另一個原因是建筑師與地域之間的聯(lián)系并非自始至終線性連續(xù)，而是對旅途中多個軌跡與路線的選擇。不論它們是否能揭示旅途的內(nèi)涵，都會被收集或者棄置。

法律與歷史——即范式下的標志與神話——是通往現(xiàn)實的兩個途徑。它們在各民族的思想史中相互交織、融匯和碰撞；然而它們卻是不可互相消解的。因此，在“存在”的宇宙中，一切都是既成的，（我們）不可見的被視為可見的。在這個宇宙中，存在已由其輻射出的清晰特征構成實體。另一方面，敘述描述的是創(chuàng)成物，開天辟地從虛空中來到平和的日常生活之中的東西。所敘述的是純粹的新的存在。正因為它才使敘述得以發(fā)生。[5]

因此，敘述能映射其與現(xiàn)實的關系并創(chuàng)造新的現(xiàn)實。若這種現(xiàn)實與地域有關，那么就有可能創(chuàng)造出新的地域。

4

對空間的重現(xiàn)絕不能走向與地域的異常關聯(lián)，盡管地域一詞會帶來大的二維延伸；因為地域與很多定義中公里級地域尺度的唯一關聯(lián)是要避免的。

4.1

這里的問題不是創(chuàng)造或再造空間，而是對它的質(zhì)疑或解讀，即便我們所謂的日常根本不是什么實證，而是模糊、一種偏見、一種麻木。[6]

還有一種可能，讓這種新生域的重現(xiàn)去考查與實用空間有關的要素。從脫離日?！蛘哂苗昀卓俗约旱脑拋碚f，需借助其他觀察方式去超越與空間有關的偏見——到濫不可及的俗語“所見乃所知”。

4.2

還應提到的是建筑中的大詞——空間，其夸張程度有如漫畫。

“這次大會的主題是‘空間’，首字要大寫。加泰羅尼亞人類學家曼努埃爾·德爾加多在他的第一篇論文中說，他在聽到這個主題時還以為是航天員大會。這聽起來像笑話，但卻是一個專業(yè)的真實寫照。

對概括的批評在概括開始前是受歡迎的。誠然，不少男女建筑師都做過自我批評。另一個事實是，當今的建筑師與一身黑裝的紳士已毫無關系。大多數(shù)建筑師都渴望融入社會，并一直在想方設法實現(xiàn)。盡管如此 ，社會依然沒有對建筑學敞開大門，即便名垂青史的建筑贏得了無數(shù)的掌聲。為什么會這樣？你能想像一個群體，比如鐘表匠，決定用‘時間’一詞來表明他們的專業(yè)已涵蓋了時間的所有含義，而不僅僅是其計量的維度么？”[7]

4.3

相反，想逃離日常的迫切心情和對地域的處理對應的是包容的思想，為大量其他再現(xiàn)和闡釋創(chuàng)造空間。

“去年冬天，我快步從都靈波街銀幕閃動的門廊下走過。天很冷，我急著找一處咖啡廳暖和身子。這時有人告訴我，在那條老街上有一個房間，格扎維?！さ逻~斯特曾于1794年在那里寫下了《在自己的房間旅行》。

令我詫異的是，這部一直被我認為是精神之旅的作品竟是在一個真實的場所中創(chuàng)作完成的。我從未想過《在自己的房間旅行》真的有一個房間。而且，我早就忘了它是在都靈寫出來的?！盵8]

4.4

米歇爾·德塞爾托的《日常創(chuàng)造》（1980）一書——題目看似強調(diào)的是珀雷克所謂的日常——其中的論斷和思辨透徹鮮明，對日?，F(xiàn)象的觀察全如初見。

“地圖的邊緣，由敘述連起?！盵9]

5

波拉尼奧從未到過墨西哥東北的索諾拉。他在墨西哥，特別是墨西哥城。從多部自傳來看，他從15歲到24歲，即1968-1977年住在那里。據(jù)了解，他在那段時間曾到智利旅行，而且還到過墨西哥的其他地方，但卻從未到過索諾拉。這次旅行雖不起眼，但在羅伯托·波拉尼奧過世后出版的小說《2666》（2004年，Anagrama出版）中意義重大，因為書中大部分章節(jié)都指明是在索諾拉發(fā)生的。質(zhì)疑的目光投向作家的創(chuàng)作方式——大膽地將小說中的角色置于他從未到過的地域，一片他未曾踏過的土地。這個問題也容易回答，文學就是這樣，作家就是這樣。反過來問，地域如何讓從未到過的人去再現(xiàn)？這可以作為一個出發(fā)點，去探討在地域再現(xiàn)的問題上的開放思路。

對地域的再現(xiàn)總是一種獨立的創(chuàng)造。這種再現(xiàn)不是復制，而一定是創(chuàng)造。首先，地圖的索引是為了知識，而后是行動。地域與過程、產(chǎn)品、作品是共通的，也與形狀和感覺有關，我們甚至會誤以為它是一個物體。它被創(chuàng)造成具有小宇宙的魅力并極易把握的簡化模式，有取代現(xiàn)實的態(tài)勢。地圖要比地域更純粹，因為它服從主權。它可用于任何規(guī)劃，并能先一步成形，證明其可靠性。這種視覺游戲不僅將其所指的真實地域可視化，還賦形于不存在物。地圖將以和現(xiàn)實一樣的嚴謹表現(xiàn)不存在的地域，讓虛構的地圖以假亂真。而模仿展示物的危險總是存在的：多少執(zhí)著于效率的政權以為治理一個國家無非就是管好一張地圖？[1]31

5.1

《2666》一書由5部分組成：批評家、阿馬爾菲塔諾（智利哲學教授）、命運、犯罪和阿爾希博爾迪（德國神秘作家）。既然本書有開頭和結尾，它和大部分書籍有一樣的正常閱讀順序，對索諾拉的再現(xiàn)就出現(xiàn)在第一部分，即批評家的部分。本書共1119頁，批評家的內(nèi)容從第13頁到第208頁。然后是修訂的195頁，其目的看似明顯：挑出小說中再現(xiàn)索諾拉的章節(jié)，即作者從未到過的地方。如此一來，這種敘述孤立的或者說去文脈化的段落便順理成章了。

5.2

“在4人中，莫里尼是在大約同一時間看到索諾拉屠殺的第一人。這則《宣言報》上的新聞是由一位去過墨西哥報導薩帕蒂斯塔游擊隊的意大利記者署名。這則新聞令她驚詫不已。在意大利也有連環(huán)謀殺，但遇害人數(shù)很少超過10個，而索諾拉的死者竟多達百人。

隨即他想到了《宣言報》的記者，其中頗有蹊蹺之處。她去過墨西哥南部的恰帕斯，最后又去寫索諾拉屠殺——假如他的地理知識是準確的，那是在東北，毗鄰美國。在他的想像中，她坐著巴士從墨西哥城一路趕到北部沙漠。他仿佛看到她在恰帕斯的森林中度過精疲力竭的一周；聽見她與副官馬科斯對話。到了墨西哥城，有人告訴她索諾拉發(fā)生的慘案。于是她放棄前往意大利的飛機，買了長途車票，只身前往索諾拉。

一時之間，莫里尼心中向記者講述這非凡之旅的渴望幾乎是不可遏止的?！盵10]

這篇敘述采用了新聞的形式來再現(xiàn)地域，將其置于跨國乃至全球的大場景下。對于地域，只有地名是能吸引地球另一側編輯的本土特征。

因此，這一敘述依靠的是隱形的地圖，將它的地名同其他的并列起來。是這張隱形地圖上的基本點給我們的地域進行了定位——在這以北，在那以東；靠近這里，遠離那里。最后，敘述借用一般的景觀分類，將沙漠置于截然相反的森林之中，以一個基本的對立點刻畫出前者簡單而鮮明的地域形象——沙漠。

這些都出現(xiàn)在第一段里。地域陷于相關的事實之中、坐標之中、景觀的“塵埃”之中。

5.3

有些段落描述了地域是如何呈現(xiàn)出更大的復雜性，并從內(nèi)外兩方面得以驗證的。它出自對索諾拉的另一種再現(xiàn)。從《2666》中看，就是脫離其本體對再現(xiàn)的再現(xiàn)，不論它是否源于對處在神話和平凡之間的他物的創(chuàng)造過程中再現(xiàn)的對象。

“我們要向羅貝爾·羅德里格斯鞠躬：波拉尼奧一定看過《從黃昏到黎明》數(shù)百遍，把羅德里格斯影片里的光當成自己對索諾拉沙漠的回憶，而這又不是一部工具性電影。波拉尼奧看懂了塔蘭蒂諾和羅德里格斯的肢體語言、沙漠暴力的喧囂、吸血鬼作為美國南部殘暴和荒蕪的象征意義，恐怖彌漫在虛無、死寂、徘徊之中?！盵11]

說“數(shù)百遍”或許言過其實，讓他“當成了自己的回憶”。不過耐人尋味的是，電影院中的重現(xiàn)是再現(xiàn)地域的一種手段，并且十分重要，因為那在本質(zhì)上需要營造意象的天賦，并藉此創(chuàng)造出屬于自己的《從黃昏到黎明》。然而，這種引述也指責我們走入漫畫太過容易，與此同時警告我們，這種意象的引述一定不能誤用，才能避免與平凡混淆，與電影為再現(xiàn)墨西哥北部而重現(xiàn)的日常相混淆。從表現(xiàn)出的復雜性看，有的敘述還留在漫畫上，而其他的則接近地域無窮的復雜性。

6

如果地圖是對現(xiàn)實的簡化，那么敘述正相反，即是對現(xiàn)實的無限延伸。這將不僅與地圖的唯一維度相對立，還會為同一個物體帶來多重維度和尺寸，使無維度與多維度混淆。

6.1

吉列爾莫·庫伊特卡的作品，印著地圖的床墊，將地圖的矛盾附加到再現(xiàn)的媒介之上。所添的這個支撐本是為個人使用的，比如睡覺，而印制地圖大量而同一的特征則通過它向大眾表達。這樣，在庫伊特卡的床墊上醒來會讓人懷疑自己休息的地方：是地域的共同遺跡還是個人舒適的床墊。

6.2

對時間、國家、地區(qū)或地域的描繪呈現(xiàn)出它的美和丑。但所敘述的并非現(xiàn)實，而是對事實的感知和再現(xiàn)。從最細微的觀察開始，通過不斷地豐富，感受得以從觀察和敘述的那一刻起升華。觀察、推斷、構想，敘述的兩種思維框架按敘述者的觀察能力以及文化底蘊與地域相互對應，完整而復雜。但即便如此，當必須在最糟的情況下閱讀時，有了敘述就不會讓人迷失。

“我曾見過一家人在被淹的地上繞著大青銅床架建他們的房子。它全如史前時代的建筑。建房人慵懶地在潮濕的環(huán)境中挪動，仿佛魚缸中的魚，暗示著洪水的肆虐。工具和建材不過是地上隨手撿來的?！盵12]

7

離心一詞指的是讓各部分脫離，在空間中重組的力量。若是強調(diào)同物理現(xiàn)象的相似性，與離心相對的是向心，讓各部分聚合的力量。這種力量造成的后果可以是離散的、分裂的、持久的。其動作就是將聚集在一個小平面或空間里的物質(zhì)分散到大平面或空間去。

即便如此，離心的概念可以用在SANAA的森山邸，或布奇和蓬托尼的卡拉皮庫伊巴住宅上，還可以用在庫爾蒂杜里亞農(nóng)戶的羅哈斯之家上——那是一個500人小鎮(zhèn)，距地區(qū)首府塔爾卡大約1小時車程。從奇異的外表到節(jié)制的室內(nèi)，在體塊構成中見地域。

體塊構成表現(xiàn)出一種連續(xù)的聚合，既包括了衛(wèi)生又有經(jīng)濟和家庭因素。衛(wèi)生方面，由于缺少排水設施，廁所不過是遠離住宅的一個地坑。經(jīng)濟方面，由于住宅是一個經(jīng)濟體，即使有一些副業(yè)，大部分收入都來自種菜、養(yǎng)牛、釀酒或伐木。這樣一來，有的體塊就是雞舍、豬圈或木料棚。從10年前的景象判斷，家庭的增長會需要一個新體塊，但還是一個簡單的宿舍，給女兒和女婿住，還要共用浴室、廚房、起居室和餐廳。

由于父母或祖父母等老輩過世，家庭單元將減少，就會帶來置換的邏輯。上述家人居住的房間將給孩子們。增長的邏輯則會導致房屋的增建，而土坯房將與木材或塑料部分并存——這取決于建造住宅單元時可用的材料。

材料的這種豐富性會帶來多種圍合方案，因為材料通常會是疊置的，每一種都有不同的作用。土坯是承重結構和密封，塑料為土坯防雨，樹枝可以把塑料固定在土坯上。這樣一棟破敗不堪的房子，讓人不禁想到住戶的處境。盡管如此，一個罕為人道的事實是，它所代表的是一種尊重這種生活方式的文化。它沒有室內(nèi)室外的區(qū)別，因為這只是一家人共同生活的房子，還有各種牲畜和作物。在這里，食物要比餐廳更重要。

2 吉列爾莫·庫伊特卡，無題/Guillermo Kuitca, Untitled

雖然前文講的東西至今仍是合理的，但這類住宅在當前公共政策下面臨的變化也值得一提。這種變化在逐步構建新的城鄉(xiāng)關系，并可以通過以下3個方面得以驗證：鄉(xiāng)村住宅的國家計劃，縮短城鄉(xiāng)差距的更好的新道路，城郊居民住宅的國家計劃。

As narrative is effectively included in the most diverse forms of expression such as myth, legend, fables, tales, novels, epic, history, tragedy, drama, comedy, pantomine, a painting, vitrals, cinema, comic strips, police news and conversation, it would also be added to arquitecture.

3.2

A modern way of looking is by seeing fragments.[4]

Paying attention to that diverse condition attributed to territory comprehension, a fragmentary vision, perchance inclusive is subscribed, but also because it is already known that the bond between architect and territory is not a countinous line that goes from beginning to end, but it is rather a selection made of multiple traces and lines found in a journey, and that regardless these provide information to the journey or not, will be either picked up or disposed of.

Law and history－or in their paradigmatical mode: logos and myths-, two ways (methods) to access reality; ways that intertwine, confuse and clash themselves along the history of living thought of peoples; however, they are irreducible to each other. Hence, while in the explanationin the universe of "it is"－everything is given, the invisible (to us) as the visible; while in this universe the being is already there solidly constituted with its soberb identity emanating from himself, narrative on the other hand, is a narration of something that advenes or that better said, breaks through untravelled roads, from the no being, to settle in the middle of what quietly happens every day. What is being narrated advenes as a pure novelty of being. Precisely because of that narration takes place.[5]

Consequently, a narrative seems to have the posibility, starting from its relation with reality to suggest and construct new realities and if that reality refers to territory then there would be the potential for the creation of new territories.

4

The recurrency to space must not result unusual in a reflection related to territory although the word territory may exclusively evoque a great bidimensional extension, for what relating territory exclusively to what is called a territorial scale that refers to kilometrical dimensions consignated in many definitions of territory will be avoided.

4.1

The issue here is not to invent space or reinveint it, but rather interrogate it or simply read it even, as what we call every day is not at all evidence but opacity, a type of bias, a way of anesthesia.[6]

There is a possibility to make the recurrence to new referencial fields to inquire in aspects related to space viable, as detaching from the every day or in Peric's own terms, overcome that bias related to space, requires help that other ways of looking can contribute with to that ever so handy as unobtainable sentence of "we see what we know"

4.2

It is also worth mentioning the grandiloquence with which the word space tends to be used in arquitecture, grandiloquence that seems to be enough for a cartoon.

The congress was about Space, with capital letters and the Catalan antropologist Manuel Delgado started his paper (the first one) explaining that when he was told about the topic he thought it was an astronaut congress. It may seem as a joke, but it is the portrait of a profession.

Criticism to generalisations is welcomed before starting to generalise. It is true that there are many male and female arquitects that have conducted self-criticism. Also, it is very true that in today's world, an arquitect has very little to do with a gentleman dressed in black, as it is the fact that most arquitects have expressed their desire to connect with society and have tried and are stil trying to provide the means to achieve it. Nevertheless, society seems to still turn its back on arquitecture and however, applauds monuments. Why is that so? Can you imagine a colective, for instance if clock makers decided to use a term such as time assuming their profession was enough to cover time in all its extension and not just in the dimension of its measure?[7]

4.3

On the contrary, the eagerness to escape from the every day, the treatment of territory, would correspond to an inclusively enough idea to give room to many other representations and interpretations.

Last Winter, I was walking fast under the animated portics of the Via Po in Turin. It was cold and I was looking for refuge in any café when someone told me that in a room on that old street, in the Winter of 1794, Xavier de Maistre had written Trip around my room.

I found odd there was such a physical place in which a book that I had always considered exclusively a mental trip had been written. I never imagined there could be a real room in Trip around my room. Moreover, I had forgotten that it had been written in Turin.[8]

4.4

In The Invention of the Every day (1980), book by Michel de Certeau- that with its title seems to insist on that every day mentioned by Perec- there are observations and reflexions lucid enough so that every day phenomena there observed is presented as if it is the first time they are seen.

There where the map cuts off, narrative cuts through.[9]

5

Bola?o was never in Sonora. He was in Mexico, particularly in Mexico City, where according his many biographies he would have lived between the ages of 15 to 24, between the years 1968 and 1977. It is known that during that period he travelled to Chile and that he must have quite been in other parts of Mexico, but never in Sonora. This tip may sound trivial, however, it reaches its importance when refering it to the reading of 2666, the postume novel by Roberto Bola?o published by Anagrama in 2004, great part of which occurs explicitly in Sonora.The importance of objection would be then associated to the way a person can set with obvious solvency his novel characters in a region he has never been to, in a territory that he has never stepped on. The issue could be easily solved by assuming that literature is all about that, that the job of a writer consists just in that, however, creating an inverse point of view, that is to insist on how it is that a territory can allow itself to be represented by someone who has never visited it, can constitute a starting point, an open enough idea to contribute to the question about territory representation.

Representing territory is already claiming it as one's own. Now, this representation is not a replica, but always a construction. In first place, the map is traced to know and then to act. Territory is shared with being a process, a product, a, project, as it also is shape and sense, we even run the risk of mistaking it for a subject. Instituted as a model that possesses a microcosmos fascination, an extremely manageable simplification, it tends to substitute reality. The map is purer than territory because it obeys the prince. It offers itself to any plan, which it concretes in advance and seems to demonstrate how well founded it is.This kind of trompe-l'olei not only visualizes the effective territory it is referred to, but it can also give shape to what does not exist. The map will then manifest the inexistant territory with the same seriousness than the real one, portraying rather well the map must distrust itself. It always has the danger of simulating what it pretends to exhibit: how many regimes preoccupied with efficacy believe to run a country to merely govern a map?[1]31

5.1

The book 2666 is organized in five parts: the critics, the Amalfitano, the Fate, the crimes and the Archimboldi parts. Bearing in mind the condition that books have a beginning and an end, and that their construction implies in the majority of cases books must be read in that order, the representation of Sonora would reside there, in the first part, that is in the critics part. The book contains 1119 pages, where the criticspart goes from page 13 until 208. It is then 195 pages that are revised with an objective that at first seems ever so clear: to identify and select the paragraphs of the novel that represent Sonora, that territory in which the author was never in. In that way, the validity of an isolated or decontextualised paragraph to present such narrative is then understood.

5.2

Out of the four, Morini was the first to read around the same dates, a piece of news about the Sonora murders, seen in II Manifesto and signed by an italian journalist that had been to Mexico to write articles about the Zapatista guerrilla. The news seemed horrible to her. In Italy, there also were serial murders, but they would rarely surpass more than 10 victims, while in Sonora the numbers reached over one hundred.

Then he thought about that journalist from Manifesto II and it seemed curious to him that she had gone to Chiapas, considering it is located in the southern part of the country, and that she had ended up writing about the Sonora murders, given that if his geography knowledge did not betray him, this place was located in the northeast part of Mexico, on the border with United States. He imagined her travelling on a bus a long way between Mexico City until the northern desert land. Then he imagined her tired after having spent a week in the Chiapas woods. He imagined her talking to subcomander Marcos. He imagined her in Mexico City. Then, someone would have told her what was happening in Sonora. And her, instead of getting on the next plane to Italy, decided to get a bus ticket and make her own way to Sonora.

For an instant, Morini felt the unstopping desire to share the trip with the journalist.[10]

The narrative takes the shape of news to represent the appearance of a territory in a scene that overtakes it, an international scene, even global. There it is, with only its name as a localising tool of that fact that will catch the an editor's attention on the other side of the world.

Consequently, the narration resorts to a hidden map in order to set the name of that territory along with other names, a hidden map that by being referred to thecardinal points leaves our territory located in the north of this and the east of that, close to such and far from that. Finally, the narrative gives a hand to a general landscaping categorization to enunciate a desert territory in the extreme opposite to a wooded one, in a counterpoint that although basic assigns that first territory a clear and simple image, a brand: the desert.

All this in the first paragraph, the territory trapped by a relevant fact, the trapped territory by some coordinates and the trapped territory by a landscaping "mote".

5.3

There are paragraphs that manage to give account of how territory takes part of a greater complexity that is verified both in and out of it. This precisely due to another representation of Sonora that starting from 2666, is constituted in representation of the representation detaching itself whether it is from that represented object that derives in the construction of another object that seems to have as much of a myth as of a common place.

We bow to Rober Rodriguez: Bola?o must have seen Abierto hasta el amanecer hundreds of times, must have mistaken the light of Rodriguez's film with his own memories of the Sonora deserts. And it is no accesory film. Bola?o comprehends Tarantino and Rodriguez's gesture, the sound of that desert violence, the vampire's image as a metaphor of south american cruelty and its scarcity, horror flowing in the emptiness, in the silence, in the explanade.[11]

It would be an imprecise reference due to its excessive "hundreds of times", for that "must have confused", for that about "his own memories". It is interesting however, the recurrence to cinema as a means to represent territories, a certainly no minor vehicle given the fact that in its nature rests the gift of image construction and from there, as it happens with the own "Abierto hasta el amanecer", with the imagery constructs. However, the quote criticizes how easy it is to get us involved in the cartoon, and at the same time alerting us of how such imaginary quotes must not be mistaken so that they can be kept away from the common place, from that common place to which the film recurs to in order to represent the north of Mexico.

It seems to be then that according the complexity that is proposed, there are narratives that remain in what is cartoonish and others that come close to the infinite complexity of territory.

6

If the map was effectively a reduction of what is real, the narrative on the opposite, would constitute an infinite extension of what is real, that would not only oppose to the only proposed dimension by a map, but it would also contribute with a multiplicity of dimensions and sizes for a same object in which the adimensional with the multimensional would be mistaken.

6.1

Guillermo Kuitca's creation, of painted maps over matresses, adds support as a map's contradiction element as a representation vehicle, given that by constituting this support in the support of such a personal and individual process such as sleep, the drawn map sees its plural and common condition enhanced to many. Therefore, waking up from Kuitca's bed gives rise to doubt regarding the resting place: territory's common patrimony or the individual good of the bed.

6.2

The portrait of the time, the country, of the region or of the territory, makes itself present with its virtues and embarrasments. But what is really being narrated isn't reality but rather a perception of the facts that would represent it, starting from observations sometimes minimal and that by being added or required, enhance the experience from the moment it is being observed and narrated. Observing, infering and conjeturing, two frames of thought that tribute to a narrative that manages to refere to territory in a proporcional manner, in completeness and complexity, to the capacity of observation and the cultural depth of the narrator. But even so, when obliged to read in the worst of cases, with a narrative one can never go wrong.

I have seen a family build up their house around a big bronze bedframe, in an inundated plot of land. Here it is an example of what would have been the arquitectura in prehistorical age. The humidity in the middle of where constructors would move in an apparent lazy manner, like fish in a fishbowl, would forsee the diluvio. The work tools and construction materials were merely a gift from luck.[12]

7

The word centrifuge corresponds to that force that drives parts away, finding a way to arrange itself in space. When emphasising analogy with physical phenomena, what is centrifugal opposes what is centripetal, what joins the parts together. The result of this force can be the disperse, the fragmented, the prolonged. The action operates disposing in a great surface or volumen to the matter that until then was united in a small surface or volume.

Even though the idea of what is centrifugal can be applied to the Casa Moriyma of SANAA or to the Carapicuiba house of Bucci and Puntoni, it can also be applied to the Rojas Family, farmers from Curtiduría, a town of 500 inhabitants located an hour away from Talca, the regional capital, and that corresponds to a volumen disposition between which and from a foreign exterior to a controlled interior, territory sneaks in.

The volume disposition seems to obey a succesive aggregation that attends sanitary processes as well as financial and familiar ones. Sanitary, because due to the lack of sewage, the WC is nothing but a hole in the land, located away from the house. Financial, because the house is a financial unity that, although complemented by some paid activities, great part of its income is obtained through growing vegetables, raising cattle and wine production or wood surplus. In that way, some of these volumes correspond to chicken houses, pork pens or roofs for wood protection. Judging from what would be seen until ten years ago, family growth would give room to another volumen aggregation that though not being able to go beyond a mere dormitory for a daughter and her husband, would mean shared use of bathroom, kitchen, living room and dining room.

The decreasing of the family unit, due to the passing of elderly members such as parents or grandparents, would give room to a replacement logic where the house normally inhabited by the above mentioned would then be used by any of the children that were already living there. The adding logic would also reach to the construction of the house, where adobe parts would coexist with wooden or some plastic parts, depending on what was available and accesible during the construction period of the house unit.

Such material variety gives room to a parameter that conjugates diverse enclosure schemes, as the materials would normally be superimposed, each one assuming a different role: adobe would refer to structure and sealing, plastic would protect adobe from rain and also poles or branches available that at the same would keep the plastic next to the adobe. This is about a house that due its precariety makes imagining the poverty of its occupants possible, what nonetheless rarely rings true, as this would rather refer to a way of living related to a culture that privileges life in such space and that therefore does not accept its definition as interior or exterior, because this is simply about a house where a family lives together, along with animals and crops, where food is given greater priority to than a dining room.

Although what has previously been mentioned keeps most of its validity until today, change processes being experienced by this type of houses under the current public policy frames are also worth mentioning. Such changes, one by one are defining the new way of this countryside-city relationship and can be verified mainly by looking at the three following aspects: Rural housing state programs, newer and better roads that shorten the gap between country and city, state housing programs aimed at lodgers located in city periphery.

8

Symetrically, the word centripetal corresponds to the force that brings the parts together finding a way to arrange itself in space. When emphasizing analogy with physical phenomena, what is centripetal is the opposite of what is centrifugal, what draws parts away from each other. The result of this force can be the compact, the condensed, the concentrated. Such action operates arranging the matter in a small surface or volume that finds itself spread in a surface or greater volume. At the same time, the word matter, though it reaches its relative meaning to physics, also includes another meaning refered to topic and issue. The condition of centripetal representation or by condensation resides in its own way in "matter cubes", made by first year students from the School of Arquitecture of the University of Talca, in Chile.

8

相應地，向心一詞對應的是將各部分聚合在一起，在空間中自我重組的力量。若強調(diào)與物理現(xiàn)象的相似，向心與讓各部分分散的離心是相對的。這種力量的結果可以是緊縮的、凝聚的、集中的。這種動作作用在一個小平面或空間里的物質(zhì)分散到大平面或空間去的時候。同時，物質(zhì)一詞雖然具有與物理學相關的含義，但還有另一個表達論點與專題的意思。向心再現(xiàn)或凝聚體現(xiàn)在智利塔爾卡大學建筑學院一年級學生的“物質(zhì)立方體”自身的形式中。

8.1

學生的作業(yè)是用智利中部山谷中的材料建造一個25cm見方的立方體。這些材料是從學生住的地方采集并挑選出來的。

這種立方體通常是在學生的家中制成，然后帶到建筑學院進行展示的。搬運立方體就是一個去文脈化的過程，附著在立方體上的抽象因素就是敘述地域的工作，一種凝聚的、內(nèi)在的敘述。

一條線的端點、一個故事的開頭是物質(zhì)，是他們創(chuàng)造立方體所需的東西。在同一條線的另一端是故事的結尾。學生的立方體將與其他上百個一起展示在房間里，在那小小的空間里每個都有它自己的故事。

8.2

“蜜立方”表達的是深層秩序的修復和羅哈斯之家表現(xiàn)出的混亂：破敗凋敝、不堪入目，是它的成因所致所警——時間。這種季節(jié)更替的表達讓人們看到作物的播種與收割和牲畜的繁殖，又有影響房屋的冷熱變化。時間也體現(xiàn)在這個無法回避的含義中——物質(zhì)必然老化，變化不可避免。

8.3

杰曼·梅迪納是“黍立方”的作者。他的家在倫戈鎮(zhèn)，距離塔爾卡140km。他在大學附近租房子，每周末回鄉(xiāng)下家里，父母和祖父母也住在那里。他們種智利黍，那是制作傳統(tǒng)笤帚的一種植物。杰曼的祖父多年來一直在用業(yè)余時間制作笤帚，以增加收入。從警察局退休之后，他就開始教沒做過笤帚的兒子和孫子。也許是因為那時塑料笤帚更普遍，或者只是因為他們想在農(nóng)余多賺點錢，就像杰曼的父親。而杰曼通過學習成了一名建筑師，因此，當他在接到這個作業(yè)時，他決定用上手邊的東西和建筑的知識。它既是一種再現(xiàn)，也是一種構成，按照作業(yè)的要求從智利中部山谷的物體的再現(xiàn)中找到了根據(jù)。

這就是線的端點、故事的開頭——種在屋后地里的智利黍。在同一條線的另一端是故事的結尾，杰曼的立方體與上百個其他立方體陳列在一個房間里，每個立方體都在其中有一個漫長的故事。此外就是將立方體從倫戈帶到塔爾卡的旅途。他很可能用了商店的多色袋包裝，然后去快速路等巴士帶他南下140km到塔爾卡公交站，再換另一輛巴士送他到大學。在那里先睜開困頓的雙眼，隨即期待著看到的一切。打開塑料包裝的一刻，他終于能展示出無聲的閃耀。

“正如我們一開始所說，大部分人都同意《鳥人》是敘述的異類。每件藝術品都應該是異類，這就是它首要的目標。但是考慮到電影和普通小說的存在，我們應該將異類放在墨西哥電影鑒賞家的眼中。詭異，因為敘述的引擎就像一級方程式賽車一樣被推向極致。詭異，因為攻擊作品的一般方式（所謂的序列計劃）來自一般的渠道。詭異，因為其中人物的存在性問題是不尋常的，即便在代表大多數(shù)人群時。但最詭異之處在于，藝術品的制作材料之間是不可分割的。這就使敘述走向了完美，亦即其結構特征：比如在相互獨立的元素組合中，任何元素的改變都會影響其他的?！盵13]

有些圖像是令人困惑的。當其應有的方式或方位有問題時，就會出現(xiàn)令人困惑的圖像。這是一種對秩序的破壞，不論是明是暗；同時又帶來一種觀察現(xiàn)實的方法，它一旦成為具象就已經(jīng)具備了風格。引人發(fā)笑的怪異或創(chuàng)意圖片不在此之列，描繪異域風情的也不算，只有那些打破既有秩序的、非同尋常的圖像才可以。比如，大衛(wèi)·林奇或丘克·帕拉紐克是非同尋常的——不是杰出或少見，而是獨一無二。將羅蘭·巴特的認知點與刺點用在非同尋常的圖像上的想法基于對過程的解釋：它并非對每個人都不同尋常，而是讓人選出最好的照片，或是反復觀察一幅圖像。

9

“我記得切斯特頓曾說過，有的東西存在時會熠熠發(fā)光，那就是在轉(zhuǎn)角處發(fā)現(xiàn)某物的幻覺。

或許就是這種發(fā)現(xiàn)新事物的渴望讓我們?nèi)ゲ恍傅靥綄?，指引著我們?nèi)ハ嘈胚@世上存在著不同的、未知的、獨一無二的東西，又不同于轉(zhuǎn)角發(fā)現(xiàn)的驚奇。這就是為何我們中有人會用畢生的精力去做開拓的先鋒，因為它是惟一能讓我們相信在這個世界上、甚至是這個凋敝的世界之外有未知的事物存在。這就是為何我們中有人會反對因循守舊，厭惡一遍遍重復的故事，欺騙自己會溫故知新。我們憎恨現(xiàn)實的、質(zhì)樸的東西，這種現(xiàn)實和質(zhì)樸讓人以為作家的工作就是抄襲、重復、模仿現(xiàn)實，好像在他那混亂的未來和可憎的晦澀中，現(xiàn)實是可以捕捉到并敘述出來的。他們曾相信越是經(jīng)驗化、散文化就越接近現(xiàn)實。我們會詛咒那些有意回避這種風險的人，只因為他們害怕社會與失敗。我們藐視那些不明此理的人：作家的偉大源自他的狀態(tài)，來自失敗經(jīng)歷的錘煉。我們愛那些堅信藝術就是永不放棄嘗試的人。

這就是對他物的渴望。這渴望必將指引我們發(fā)現(xiàn)新的事物。這渴望——我這樣叫它是因為我喜歡這個詞，它是我在翻譯葉芝的詩歌時遇到的——從青年時的夏天開始就一直伴隨著我，直至今日。我相信它就是我的心、我的筆跡、我的水印，我存在于這個世上的靈魂。這就是我所謂的對新事物的永恒追求，對新事物必然存在的執(zhí)著信念，對身邊新事物的不懈探索?！盵14]

4 杰曼·梅迪納，黍立方/German Medina: Curaguilla Cube（3.4攝影/ Photos: Hector Labarca Rocco)

3 法比安·加拉斯，蜜立方/Fabián Galaz: Honey Cube

愿維拉-馬塔斯的話能讓對新事物的渴望支撐我們在塔爾卡所做的一切，我們的地域雖不應放棄追求傳統(tǒng)形式，但更要激發(fā)反思與探索，使之成為一條求新之路?！?/p>

8.1

The task consists so far, in the construction a 25cm arista cube with matter from the central valley of Chile, materia collected and selected in the place where the student lives.

The cube is made in a place, usually the student's house to then be taken and presented in the school of arquitecture. While the cube is being carried from one place to the other, there is a decontextualisation, what if added to the abstract condition of the cube, constitutes those jobs in a narrative of territory, a type of condensed narrartive, inmanente.

In the extreme of a line, in the beginning of a story, there is the matter, things they need to make the cube. In the other extreme of the same line, there is the end of the story, the room where the student's cube will be placed among other hundred cubes belonging to other students, each one with its own story, contained in its volume.

8.2

The honey cube allows for the repair in the deep order and the apparent dissorder that the Rojas' family home proposes: dilapidated and visually precarious, arranged and alert in what determines it: time. Expressed in the seasonal regime that says a lot about the sow and harvest of vegetables and animal production, as well as of the cold and heat that affects the house, time is also present in its inevitable meaning that says so much about the matter getting old and also about change.

8.3

German Medina's family, the author of the curaguilla cube, lives in Rengo, town located 140 kms from Talca. He rents near the university and goes home every weekend, which is his parents' house and also his grandparents'.There in that country house, they grow curaguilla, a plant brooms are traditionally made of, activity that German's grandfather would do for years in his free time to increase his wages once he retired from the police force, teaching his son and grandson about it, who had never done it before, perhaps because at that time plastic brooms were far more popular or simply because they decided to do something that would give them more money such as agriculture in the case of German's father, and studying to become an architect in the case of German. So when German has to carry this task, he decides to make use of what is available to him and also of what he knows to propose a construction that, having as much of a representation as of a composition, manages to validate itself not only as a representation of an object that due to the task conditions could be about the central valley of Chile.

There they are, in the extreme of a line, in the beginning of the story, the curaguilla plants grown in the land plot behind the house. In the other extreme of the same line, there is the end of the story, the room where German's cube is located among other hundred cubes, each one with a long story located in its volume. And there is also the trip, the line, taking the cube from Rengo to Talca, probably wrapped with a store's policromated bag, waiting on the highway for that bus that will take him 140km to the south to the bus station in Talca to then get on another bus that will take him to university, holding sleepy gazes first and then expecting ones after, when without the plastic around it, he will be finally able to show off his splendid mutism.

As we mentioned at the beginning, most of the class agreed on the fact that Birdman was a narrative anomaly. Every artistic piece should be abnormal, such is its primary obligation, but given the existance of movies and normal novels, we allow ourselves to apply the category of unusual to the mexican cineast's film. Strange, because the narrative machinery is forced to the limit as the engine of a Formula 1 car. Strange, because the formal way of attacking the project (the so talked about sequency plan) comes out from the normal channels,strange because of the existential problems of its characters, even when representing the majority of people, are not usual. But mostly strange because the materials the artifact is made of need each other desperately. That is what makes a narrative perfect: its structure quality, such as being a group of interindependant elements where one element cannot be moved without affecting the rest.[13]

There are images that puzzle. When something about them isn't how or where it should be, puzzling images arise. There is an order transgresion, whether it is explicit or implicit, that at the same time gives place to a way of seeing reality that as soon as it gives shape, it already constitutes a style. Curious or creative images that search for a laugh or a smile are not included in this category, nor are those that portray exotic customs, but rather those truly unusual images that break an established order. Mentioning for example David Lynch or Chuck Palahniuk is talking about unusual, and not of something extraordinary or uncommon, but rather singular. The idea of Stadium and Barthes' Punctum applied to the unusual image is based on the explanation of a process that isn't unusual for anybody, which is to prefer a photography over another or looking at an image over and over again.

9

I remembered that Chesterton used to say there was something that gave splendor when it existed, and that was the ilussion of finding something round the corner.

Maybe it was that desire that there was something else what would make us search for something new, that would lead us to believe in the existance of something different, unseen, unique, something different to the unexpected round the corner; that is why some of us had spent our whole lives wanting to be vanguardists as it was our only way to believe that in the world, or maybe beyond it, further away from the poor world, there could be something never seen. And that is why some of us would reject the repetition of what had already been repeated, we would hate being told the same old story and pretend that we would learn again what was already known, we detested the realist and the rustic, or the rustic and the realist that would consider that a writer's task was to reproduce, copy, imitate reality, as it in his chaotic future and in his monstrous complexity, reality could be caught and then narrable, we would alucinate among writers that used to believe that the more empirical and prosaic they were, the closer they were to reality, we would curse those that would choose to ignore the risk only because they were afraid of society and failure; we would look down on those who didn't understand that the greatness of a writer was in his condition, previously guaranteed of a failure, we would love those who would swear that art was just in trying.

It was that desire there would be something else. And desire always takes us unfailingly to search for what is new. And that eagerness－I started calling it so just to use a word I liked and that I had found when translating some verses by W. B Yeats－it was something that stayed with me since the summers of my youth and that is still there, what I believe is my core, what I believe to be the very essence of my way of being in the world, my mark, my watermark: I refer to that continuous devotion in the search for what's new, or for believing that perhaps there could be such thing as new, or for finding the new that was there all along.[14]

May Vila-matas' paragpraph be of help to promote eagerness for what is new as something that would be behind what we do in Talca, a territory that should not other than calling on formal tradition and that nonetheless promotes reflection and experimenting as means of its endeavor.□

/References:

[1]Corboz, André. El territorio como palimpsesto: en Lo urbano en 20 autores contemporáneos. ángel Martín Ramos, editor. Ed. UPC: Barcelona, 2004: 27.

[2]Folch, Ramón. Los conceptos socioecológicos de partida. Principios ecológicos versus criterios territoriales: en El territorio como sistema: Ramón Folch, coordinador. Diputación de Barcelona, 2003:19.

[3]Barthes, Roland. en Silvia Niccolini (comp.), El análisis estructural de relato. Centro Editor de América Latina, Buenos Aires, 1977: 65.

[4]Sontag, Susan. Al mismo tiempo: Ensayos y conferencias. Mondadori, Barcelona, 2007.

[5]Giannini, Humberto. La reflexión cotidiana: hacia una arqueología de la experiencia. Editorial Universitaria: Santiago, 2004: 86.

[6]Perec, Georges. Especies de espacio. Montesinos: Barcelona, 2006.

[7]Zabalbeascoa, Anatxu. Arquitectos alienígenas. El País: April 14, 2013.

[8]Vila-Matas, Enrique. El Viaje Alrededor. El País: Babelia, January 2, 2010.

[9]de Certeau, Michel. La invención de lo cotidiano. Universidad Iberoamericana: México, 2000.

[10]Bola?o, Roberto. 2666, Anagrama: Barcelona, 2005: 64.

[11]Bizama, Alvaro. Cut & Paste: Lanzallamas. Fanzine Especial Roberto Bola?o: Santiago de Chile, 2008.

[12]Lihn, Enrique. Huacho y Pochocha. Ediciones del Litoral, Santiago, 1964.

[13]Millás, Juan José. 'Birdman': el montaje del director: El País, February 26, 2015.

[14]Vila-Matas. Enrique: Kassel no invita a la lógica. Seix barral: Barcelona, 2014.

Talca's Cube

In the text, there is no specific mention about intertextuality, but nevertheless, in its early reading, it falls into account that it is the way in which the relation that might exist between architect and territory is tried to be unveiled. It is this intertextual logic that allows the author to include photographs and paragraphs from other authors into the text which add, from diverse disciplines, to the installation of representation as a clue to solve the problem that appears when planning as a verb is discarded from the entailment between architect and territory.

Chile, Talca, architecture, local, University of Talca, territory, landscape, planning

塔爾卡大學建筑學院創(chuàng)始人、院長

2015-06-01