The City of Collective Memory

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The Politics of Representational Forms • As every economic formation or structure engenders a cultural form or an aesthetic convention, the representational forms of the City as a Work of Art, Panorama, or Spectacle reflect different stages of capitalism. • The term “work of art” implied that there existed a market for these “works”, that art was a commodity for sale & no longer limited only to the aristocrats. • This 19 th century art market was compromised : the old aristocrats and acamedicians still ruled over popular taste. • To cover the changes wrought by political revolutions, industrialization, rise of capitalists with their materialistic aspirations, old styles such as Gothic, Baroque or Classical was used all over again. • Thus the battle of styles & the City as a work of art were nothing other than a backward binding gesture.
The City of Collective Memory • The City of Collective Memory should focus on creation of meaningful & imaginative public spaces. • Should have continuous urban topography, a spatial structure that covers both rich and poor places, honorific and humble monuments, permanent and ephemeral forms, and should include places for public assemblage and public debate, as well as private memory walks and personal retreats. • In the City of Collective Memory, the architect, city planner, and spectator must begin to move beyond the will to instrumentally formulate historical unities. • It should have a play of oppositions, the existence of randomness, disturbances, dispersions & accidents. • The City of Collective Memory will require a double reading of 19 th & late 20 th century forms.
Page 1 and 2: The City of Collective Memory Its H
Page 3 and 4: The Generating Powers of a City Pla
Page 5 and 6: • In the last few decades, “pub
Page 7 and 8: The City as a Work of Art • Until
Page 9: The City of Spectacle • By the 19

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