Vignettes of death: architecture and the death drive To Lissi Holm, January 1960-June 2005
Vignettes of death: architecture and the death drive To Lissi Holm, January 1960-June 2005
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死亡小插曲：建筑与死亡驱动 致 Lissi Holm，1960 年 1 月至 2005 年 6 月
DOI：
10.1111/j.1467-8705.2007.00786.x
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发表时间：
2007
影响因子：
0.2
通讯作者：
HOLM L
中科院分区：
文献类型：
--
作者：
HOLM L
本文探讨了建筑与死亡的关系。这是对约翰·特西耶（John Tercier）的《当代临终之床：终极冲刺》（The Ultimate Rush）的回应，后者是关于死亡和医疗实践在流行文化中的接受程度。它将检验死亡驱力的精神分析概念。它并没有写出关于死亡和建筑的大师叙事，而是用了一些关于死亡的建筑小片段，包括僵尸、维特鲁威人、tv - vastri<e:1>的斯坦尼康人、帕台农神庙、空房子。关于方法论的一句话：本文不是一个调查，而是一个蒙太奇。蒙太奇的标准不是真实，而是衔接或可理解性。选择这些小插图是因为它们可以连接在一起，形成一幅死亡驾驶的画面。蒙太奇是我论文的主题；的确，拉康认为驱力是蒙太奇。我是一名建筑师：选择小插图背后的逻辑有一种杂色的味道——敷衍了事的工程师、机会主义者、因为合适而选择东西的补鞋匠。1
This paper explores the relation between architecture and death. It is a response to John Tercier’s The Contemporary Deathbed: The Ultimate Rush, which is about the reception in popular culture of death and medical practice. It will examine the psychoanalytic concept of the death drive. Rather than produce the master narrative of death and architecture, it consists of architectural vignettes of death, including the zombie, the Vitruvian man, the Steadicam man of TV-vérité, the Parthenon, the empty house.A word on methodology: this paper is not a survey, but a montage. The standard for montage is not truth, but cohesion or intelligibility. The vignettes were chosen because they could be joined up to make a picture of the death drive. Montage is thematic in my paper; indeed, Lacan argues that the drive is a montage. I am an architect: the logic behind the selection of vignettes has the whiff of the bricoleur about it–the make-do engineer, the opportunist, the cobbler who selects things because they fit. 1