无形城市建筑空间丨Stefano Corbo

晚期资本主义，或称后现代主义建筑风格的应用非常广泛，常见于数据中心、仓库、物流中心等大型工业类建筑。它们通常被认为是“无深度感、无历史感”的非主流建筑案例，且它们之间极其相似高度相关。这些建筑或许与形式和历史性无关，但它们却凭借其描绘本身传递出一种隐性的价值。首先，晚期资本主义建筑空间代表了特定权力关系、劳工问题和基础设施等级制度的存在。最重要的是，尽管这些建筑类型多样，但它们有着共同的基础，描述出一种内在精神与外延空间的关系。EXTERIORLESS旨在利用虚拟的空间形式描绘出这种关系。

The architecture of late capitalism manifests itself through a very diverse range of episodes: data-centers, warehouses, logistics hubs. Often considered by the disciplinary discourse as banal examples that sit outside of pre-established canons, these recent architectures are extremely relevant. They are relevant not for their formal or historic qualities, but for what they represent – for the implicit system of values they embed. The spatial byproducts of late capitalism express, first of all, the presence of specific power relations, labor issues, and infrastructural hierarchies. Most importantly, these architectures, despite their typological diversity, share a common ground. They describe a sort of inner and extended condition: the EXTERIORLESS.

通过复杂的框架结构与不断变化的视点，构建出一系列具有推测性的扩展空间，点明“无形”的特征，加剧了内外空间之间的矛盾，揭示出晚期资本主义建筑的隐藏本质。本项目中呈现出的画面可以说是一种隐喻：每一帧都是一个描述全局场景的片段，暗示出时间的流逝与消亡，同时讽刺了盲目神化现代科技的技术乐观主义观点，展示出晚期资本主义建筑从发展到毁灭的过程。

What follows is a speculative representation of this expanded domain, organized across a sequence of frames / visions aiming to emphasize the EXTERIORLESS’ salient characters, as well as to exacerbate its contradictions, and reveal its hidden qualities. The drawings presented here serve as a synecdoche: each frame is a fragment describing global scenarios and deploying at the same time potential and loss: technological optimism and death. Development and ruination of late- capitalist architecture.

这些画作中的建筑空间并没有被赋予特定的材质或尺度，旨在描绘出一种无形的城市状态。或者，换句话说，“无形”取代了我们对城市的现有认知。Andrea Branzi曾在“无休止城市”（Non-Stop City）中预测了建筑在二十世纪中的角色，借用他的观点，我们似乎可以认为城市将不再是建筑的约束。本项目的作者Stefano Corbo将建筑本身作为城市的另一种形式表达出来，表面上这些画作中的建筑空间是传统而无差别的，但在象征意义上来说则是大胆而无畏的。

EXTERIORLESS doesn’t immediately relate to materiality, nor to specific scales. EXTERIORLESS is the city. Or, in other words, EXTERIORLESS replaces the city as we have known it until recently. To borrow Andrea Branzi’s interpretation of architecture’s role in the XXI century, one may say that the city no longer foresees architecture. The architecture of the EXTERIORLESS presents itself as an alternative to the city: it is oftentimes anonymous and conventional. Its symbolism is bold.

标准建筑、工业建筑和典型的基础设施共存于同一幅图像中:它们描述了一个没有外观、没有交互、没有孔隙的空间模型。画作中的建筑不受总体规划的约束，通过碰撞和错位相互联系，累积成一个无尽的、内敛的场地地形。“EXTERIORLESS”中描绘了一系列末日世界般的废弃建筑场景，这些建筑从未被使用过，逐渐被植物占领，最终被人类废弃。在人们的固有观念中这些晚期资本主义建筑是过时的，但是作为废墟，它们不再是对过去时代的缅怀，而是通过加速的自我重构预示出未来。

Standard constructions, industrial buildings and typical infrastructures coexist in the same images: they describe a model with no exteriors, no interaction, no porosity. Architectures don’t obey any overarching project of planning. They relate to each other by collision and misalignments. The ground becomes an endless and introverted terrain of form accumulation. The structures of the EXTERIORLESS are depicted as potential ruins – unused, progressively colonized by vegetation, refused by humans. Intrinsic to their conception is their obsolescence. As ruins, they are not a nostalgic representation of what is lost, but a prefiguration of the future through acceleration and architectural autonomy.