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Additional resources for A Scientific Autobiography
The tower of my Venetian theater might be a lighthouse or a cloek; the campanile might be a minaret or one of the towers of the Kremlin: the analogies are limitless, seen, as they are, against the background of this preeminently analogous city. I think it was at Izmir that I watched and heard the awakening minarets in insomm'ae dawns; in Moscow, I experienced the frisson of the Kremlin's towers and sensed the world of the Mongols and of wooden watchtowers set on some boundless plain—I sensed things in this way far more than as elements reducible to those we call architecture.
Photograpfi by Arttonio Martinetti. clear, especiaIly its architectural context. We later shot the flnal part ofthe film on the outskirts of Milan at dawn. I truly believe that I had gone beyond architecture, or at leaat explained it better. The problem of technique also vanished, and now I think that the realization ofthis film may be the continuation of so many things I am seeking in architecture. This film also contained some of my love for my theater in Venice, for it was an anomalous work, presenting itself with the same imposing quality and fragility that a machine possesses.
Among my passions for public things I have a great respect for, and perhaps I can even say I have participated in, the authentic liberation of some ancient places of the abuse of power. The abuse of the mind has always seemed to me worse than that of the body, even if the two, as we know, are often joined. Well, in my encounter with the people at this place, I remember very well that from the beginning there was a mutual uneasiness: it was an uncomfortable situation, even fnghtening, to be honest.