Issuu on Google+

AMNESIA a book on ruins Mauro Thon Giudici January 2011


1

c �2010/2011 Mauro Thon Giudici

AMNESIA


2

«A broken stone has necessarily more various forms in it than a whole one; a bent roof has more various curves in it than a straight one; every excrescence or cleft involves some additional complexity of light and shade, and every stain of moss on eaves or wall adds to the delightfulness of color» (John Ruskin, Modern Painters Volume IV. 1856)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


3

c �2010/2011 Mauro Thon Giudici

AMNESIA


4

AMNESIA

c �2010/2011 Mauro Thon Giudici


5

c �2010/2011 Mauro Thon Giudici

AMNESIA


6

« Now, to return to our immediate subject, it so happens that, in architecture, the superinduced and accidental beauty is most commonly inconsistent with the preservation of original character, and the picturesque is therefore sought in ruin, and supposed to consist in decay. Whereas, even when so sought, it consists in the mere sublimity of the rents, or fractures, or stains, or vegetation, which assimilate the architecture with the work of Nature, and bestow upon it those circumstances of colour and form which are universally beloved by the eye of man» ( John Ruskin, The Seven Lamps of Architecture. 1849)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


7

c �2010/2011 Mauro Thon Giudici

AMNESIA


8

AMNESIA

c �2010/2011 Mauro Thon Giudici


9

c �2010/2011 Mauro Thon Giudici

AMNESIA


10

«Again, upon all forms of sculptural ornament, the effect of time is such, that if the design be poor, it will enrich it; if overcharged, simplify it; if harsh and violent, soften it; if smooth and obscure, exhibit it; whatever faults it may have are rapidly disguised, whatever virtue it has still shines and steals out in the mellow light; and this to such an extent, that the artist is always liable to be tempted to the drawing of details in old buildings as of extreme beauty» (John Ruskin, Modern Painters Volume I. 1844)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


11

c �2010/2011 Mauro Thon Giudici

AMNESIA


12

AMNESIA

c �2010/2011 Mauro Thon Giudici


13

c �2010/2011 Mauro Thon Giudici

AMNESIA


14

ÂŤSaw it into planks, and though now adapted to become permanently useful, its whole beauty is lost forever, or to be regained only in part when decay and ruin shall have withdrawn it again from use, and left it to receive from the hand of nature the velvet moss and varied lichen, which may again suggest ideas of inherent happiness, and tint its mouldering sides with hues of lifeÂť (John Ruskin, Modern Painters Volume II. 1846)

AMNESIA

c �2010/2011 Mauro Thon Giudici


15

c �2010/2011 Mauro Thon Giudici

AMNESIA


16

AMNESIA

c �2010/2011 Mauro Thon Giudici


17

c �2010/2011 Mauro Thon Giudici

AMNESIA


18

« I believe, the first perception, and certainly the only existing expression of precisely the characters which were wanting to old art, of that feeling which results from the influence among the noble lines of architecture, of the rent and the rust, the fissure, the lichen, and the weed, and from the writing upon the pages of ancient walls of the confused hieroglyphics of human history» ( John Ruskin, Modern Painters Volume I. 1844)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


19

c �2010/2011 Mauro Thon Giudici

AMNESIA


20

AMNESIA

c �2010/2011 Mauro Thon Giudici


21

c �2010/2011 Mauro Thon Giudici

AMNESIA


22

«For a wrecked ship, or shattered boat, is a noble subject, while a ship in full sail, or a perfect boat, is an ignoble one; not merely because the one is by reason of its ruin more picturesque than the other, but because it is a nobler act in man to meditate upon Fate as it conquers his work, than upon that work itself» (John Ruskin, The Harbours of England. 1856)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


23

c �2010/2011 Mauro Thon Giudici

AMNESIA


24

AMNESIA

c �2010/2011 Mauro Thon Giudici


25

c �2010/2011 Mauro Thon Giudici

AMNESIA


26

«Thus, the eye rests with delight on the broken moldings of the windows, and the sculptured capitals of the corner columns, contrasted, as they are, the one with the glassless blackness within, the other with the ragged and dirty confusion of drapery around» (John Ruskin, The Poetry of Architecture. 1838)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


27

c �2010/2011 Mauro Thon Giudici

AMNESIA


28

AMNESIA

c �2010/2011 Mauro Thon Giudici


29

c �2010/2011 Mauro Thon Giudici

AMNESIA


30

«And, if desolation, which is the destruction of life, cannot leave its impression perfect without some interruption, much less can solitude, which is only the absence of life, be felt without some contrast. Accordingly, it is, perhaps, never so perfect as when a populous and highly cultivated plain, immediately beneath, is visible through the rugged ravines, or over the cloudy summits of some tall, vast, and voiceless mountain» (John Ruskin, The Poetry of Architecture. 1838)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


31

c �2010/2011 Mauro Thon Giudici

AMNESIA


32

AMNESIA

c �2010/2011 Mauro Thon Giudici


33

c �2010/2011 Mauro Thon Giudici

AMNESIA


34

«Landscape painting is the thoughtful and passionate representation of the physical conditions appointed for human existence. It imitates the aspects, and records the phenomena, of the visible things which are dangerous or beneficial to men; and displays the human methods of dealing with these, and of enjoying them or suffering from them, which are either exemplary or deserving of sympathetic contemplation» (John Ruskin, Lectures on Landscape. 1871)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


35

c �2010/2011 Mauro Thon Giudici

AMNESIA


36

AMNESIA

c �2010/2011 Mauro Thon Giudici


37

c �2010/2011 Mauro Thon Giudici

AMNESIA


38

« As regards domestic buildings, there must always be a certain limitation to views of this kind in the power, as well as in the hearts, of men; still I cannot but think it an evil sign of a people when their houses are built to last for one generation only. There is a sanctity in a good man’s house which cannot be renewed in every tenement that rises on its ruins: and I believe that good men would generally feel this» (John Ruskin, The Poetry of Architecture. 1838)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


39

c �2010/2011 Mauro Thon Giudici

AMNESIA


40

AMNESIA

c �2010/2011 Mauro Thon Giudici


41

c �2010/2011 Mauro Thon Giudici

AMNESIA


42

«And in six thousand years of building, what have we done? Of the greater part of all that skill and strength, no vestige is left, but fallen stones, that encumber the fields and impede the streams. But, from this waste of disorder, and of time, and of rage, what is left to us? » (John Ruskin, The Seven Lamps of Architecture. 1849)

AMNESIA

c ⃝2010/2011 Mauro Thon Giudici


43

c �2010/2011 Mauro Thon Giudici

AMNESIA


The “Amnesia discoteque” remnants can be spotted on the side of the main road from the north of Corse to Bonifacio (gps 41.471927, 9.224100). In July 2009 I went there for a couple of times to explore it and take pictures. I wanted to render the impressions the place made as there was something of paradigmatic in there that fascinated me. The remnants and the successive layers left by the visitors made up a really impressive “social landscape”. More this is a truly modern ruin, one that still has to assurge to something more classical and valued,but, perhaps it will not even get there. Then there is the romantic side of every ruin, so full of stories and life passing by, that resulted, later, well rendered in many John Ruskin’s writings. Choosing, liberally, among some of his dense passages seemed to me the best way to complement the images. It is always diffucult to disguise among the different influences, not to speak of the hidden ones, that in many ways guide our gaze. So getting back to an influential source, not necessarily the most original but certainly an encyclopedic one, can shed some light on our (in)coscious tastes. As for the place I have made some reasearches over the internet about it and found out that it was a discoteque, the biggest of the meditarrean is claimed, built in the ninties in a seamingly natural reserved area, destroyed by a bomb attack on the 2000-04-15, around 21H20M. Here are two traces of the event (in French): http://www.investigateur.info/affaires/corse/articles/legras.html http://storiacorsa.unita-naziunale.org/h2000.htm

All Ruskin’s quotes have been taken from the online digitalized edition of his works available at the Project Gutemberg repository “http://www.gutenberg.org/” Mauro Thon Giudici

Milano, 2010-07-14/2011-02-25


Concept, photo and book design by Mauro Thon Giudici Second edition March 2011

blog: http://onlandscape.blogspot.com

editor site: http://www.coriented.com

portfolio site: http://www.cabrabesol.com not yet operational. Opening from Sept. 2011, hopefully !

c �2010/2011 Mauro Thon Giudici

All rights reserved. Permission to use, even partially, any of the included parts may be granted only by the author: Mauro Thon Giudici e-mail: maurothon.giudici@gmail.com



Amnesia