A tree born in the fracture of a vault is growing downward, finding its limit on the ground. This situation reveals a condition of inversion, at the same time paradoxical and fascinating: a tree that grows downward. It seems just the expression of an inverse limit between two realities that establishes anomalous relations, contrasting the natural order of things, something near to the experience of architectural design in the places of archaeology. The word limit usually refers the range of transition between two different conditions, as well as a place of maximum tension. Its connotation of “inverse” shows a rather different role for the parts defined by it, respectively, because contrary, opposite, inverted, upside down. The inverse limit in mathematics is a kind of construction, that from objects related each other, provides a new object mediated by morphemes retaining some features of the previous ones, by transforming an abstract structure in another. It is yet referring to: the number, other than zero, which gives the unit when multiplied by an other number settled; or the variation in which the growth of a quantity produces the decrease of the other; or else the theorem which, compared to another one, inverts the hypothesis with the thesis. The essay draws an analogy between the mathematics’ definition quoted before and those realities appearing to be configured by a kind of inverse relations between architecture and archaeology, where unusual spaces delimit or include different kinds of fragments, in order to protect and expose them, restoring their value of memory, identity, exception, but sometimes of decoration too. With this aim, after the reconstruction of a short story concerning the coverings of archaeological sites, the text converge on the critical analysis of some important architectural works interpreting the sites and the archaeological heritage in the sense of an inverse limit which makes memory projecting itself into the future through present’s fine architectures.
"Inverse Limit. Between Architecture and Archaeologies"
VANORE, MARGHERITA
2010-01-01
Abstract
A tree born in the fracture of a vault is growing downward, finding its limit on the ground. This situation reveals a condition of inversion, at the same time paradoxical and fascinating: a tree that grows downward. It seems just the expression of an inverse limit between two realities that establishes anomalous relations, contrasting the natural order of things, something near to the experience of architectural design in the places of archaeology. The word limit usually refers the range of transition between two different conditions, as well as a place of maximum tension. Its connotation of “inverse” shows a rather different role for the parts defined by it, respectively, because contrary, opposite, inverted, upside down. The inverse limit in mathematics is a kind of construction, that from objects related each other, provides a new object mediated by morphemes retaining some features of the previous ones, by transforming an abstract structure in another. It is yet referring to: the number, other than zero, which gives the unit when multiplied by an other number settled; or the variation in which the growth of a quantity produces the decrease of the other; or else the theorem which, compared to another one, inverts the hypothesis with the thesis. The essay draws an analogy between the mathematics’ definition quoted before and those realities appearing to be configured by a kind of inverse relations between architecture and archaeology, where unusual spaces delimit or include different kinds of fragments, in order to protect and expose them, restoring their value of memory, identity, exception, but sometimes of decoration too. With this aim, after the reconstruction of a short story concerning the coverings of archaeological sites, the text converge on the critical analysis of some important architectural works interpreting the sites and the archaeological heritage in the sense of an inverse limit which makes memory projecting itself into the future through present’s fine architectures.
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