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Hanoi as an assemblage of facades and the Deleuzean diagonal cut

机译：河内作为外墙和Deleuzean对角线切割的组合

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摘要

As Vietnam began to enjoy a modicum of affluence in the post-1986 reform era, households sought housing improvements that were variously low-cost, self-help, often improvised, disordered, illegal and, in their effect, informalizing the previously formal. In Hanoi, the'tube houses' of the ancient city were extended vertically and randomly, often exuberantly decorated; the Soviet-gifted, walk-up, concrete blocks of workers housing were typically extended horizontally and randomly with precarious extensions from previously bland facades. These architectural forms are especially linked to the present identity of Hanoi space and enter variously into the artistic imagination of the city. The paper invokes insights from Gilles Deleuze to account for these effusions, notably the idea of the fold and the baroque moment, and the place of the'diagonal cut'through the assemblages of history-memory that constitute nation, city and place.
机译：随着越南在1986年后的改革时代开始享有少量的富裕，家庭寻求住房改善，这些住房成本低廉，自助，往往是即兴，无序，非法的，其结果是使以前正式的非正式化。在河内，这座古城的“管房”是垂直和随机延伸的，经常装饰得很旺。苏联人赠予的，步行的，工人住房的混凝土砌块通常是水平地，随机地延伸，并从先前平淡的外墙中不稳定地延伸出来。这些建筑形式特别与河内空间的当前特征相关联，并以各种方式进入城市的艺术想象力。本文引用了吉勒斯·德勒兹（Gilles Deleuze）的见解来解释这些渗出现象，特别是褶皱和巴洛克时刻的概念，以及贯穿构成国家，城市和地方的历史记忆的组合的“对角线切割”的位置。

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  • 来源
    《Journal of Urban Design》 |2018年第3期|354-366|共13页
  • 作者

    Ross King;

  • 作者单位

    Faculty of Architecture Building and Planning, University of Melbourne, Victoria, Australia;

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  • 正文语种 eng
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