The room is perhaps the most obvious form of architecture, and yet it is the least investigated. It seems that the room has always been there, and that as dwellers, and then as architects, we have had no choice but to live in and design rooms. If the purpose of architecture is to make space then the room is the most direct architectural form that can result from such a claim. While architect Louis Kahn considered the room as the essential origin of architecture, writer Virginia Woolf argued that to have ‘a room of one’s own’ was for a woman of her time a challenge to the patriarchal logic of domestic space. Far from being a timeless form, the room is a product of specific historical circumstances that are related to one of the most controversial and problematic issues of human history: the domestication of society. The architecture of the room expresses subtly and yet directly the way in which households, families, and individuals have been individuated as subjects with distinct gender and class connotations. Evolving from the closet, boudoir, bedchamber, and sleeping cubicle the private room eventually became the bedroom, a place where each dweller is designated a specific posi
Books by Pier Vittorio Aureli
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Communal villa
“As we have seen, the perversion of asceticism is not simply its translation as ‘austerity’ but also its branding as image, which in times of austerity has become not only fashionable but also ideological. And yet it is precisely because economic austerity is a subjective economy, aiming to manipulate the subject´s moral and ethical sphere, that asceticism offers also the possibility to emancipate subjectivity from such manipulation”
Less Is Enough: On Architecture and Aceticism. – Pier Vittorio Aureli.
Pier Vittorio Aureli is an architect that, from the beginning of his professional career and due to his strong ideological beliefs, rejected the idea of building individual housing as part of his work. Therefore, the name of his project has an ironic and intended component: Communal Villa.
Pier Vittorio Aureli es un arquitecto que desde el comienzo de su carrera profesional y debido a su fuerte posicionamiento ideológico, rechazó la posibilidad de construir viviendas unifamiliares como parte de su trabajo. Tiene por tanto un componente muy intencionado, y al mismo tiempo irónico, el nombre que utiliza para este proyecto de viviendas para artistas: V
Pier Vittorio Aureli’s Architecture of Abstraction
– Nicholas Andrew Pacula
Pier Vittorio Aureli’s The Marriage of Reason and Squalor series may rightly be called barbaric. ‘Barbarism? Yes indeed,’ writes Walter Benjamin in his essay, Experience and Poverty. ‘We say this in order to introduce a new positive concept of barbarism. For what does poverty of experience do for the barbarian? It forces him to start from scratch; to make a new start; to make a little go a long way; to begin with a little and build up further, looking neither left nor right.’ In his attempt to offer a ‘non-compositional architecture’ Aureli explores the architectonic consequences of the ethos of indifference that Benjamin saw as a defining characteristic of metropolitan subjectivity in the early twentieth-century European city. Aureli’s drawings welcome the possibility of an architecture of indifference for which a new start is not only welcome but necessary; where beginning with very little, the architect must build up further, focusing only on the rules offered by the newly cleared tabula rasa. Form, shadow, programme and authorial intent are articulated using the same line-making procedure.
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