第八章 后现代主义设计运动（第30/30页）

Its act of introversion, its minimal creative will, is accomplished beyond the reach of judgement.

This is Alchimia's "new morality".

Alchimia is not interested in disciplines when these are considered according to their own rules. It is more important to explore those great empty spaces between them.

For Alchimia one must not set out to do sculpture, architecture, painting, applied arts, theatre, or what else. The project works ambiguously outside of itself, in a state of waste, of disciplinary, dimensional, and conceptual indifference: the project is only an exercise for drawing.

Alchimia believes that memory and tradition are important.But the new drawing is free from rhetorical ghosts, frozen and decanted by Alchimia in a formal and kaleidoscopic style.

Alchimia believes in despecialisation: "confused" methods of creation and production can live side by side; crafts, industry, informatics, new and obsolete techniques and materials.

Alchimia believes in the concept of "variation". Given the insufficiency of drawing when facing the world, the drawing itself becomes a continuuum, without beginning, nor end, without gratification. Linguistic and behavioural games interwind, combine and repeat themselves infinitely in the two dimensional and three dimensional image of the object drawn, in a system of ordered disorder, valid only "within itself". The visual aspect overcomes its cultural heritage and goes beyond its motivation, the valued image is purified, frozen, and "removed" from the artist's anthropological and ritual weight. Fantasy's aimless wandering constructs a representational mechanism in man's eternal compulsion to incessantly redraw the image of this world and its ornamental origins, which Alchimia takes possession of.

Alchimia views objects as being both "normal" and"abnormal". Their ordinary side makes them part of everyday life, of reality, and of the need for anonimity while their extraordinary side removes them towards the need for the unexpected, the accidental, difference and transgression.

Alchimia sees the drawing as a cycle: everything that will be has already been, and individual imagination, the basis for the world's survival, can travel in every way through all cultures and places so long as it works like one in love.

Alchimia believes that a project is a delicate thing which does not impose its presence but approaches and gently accompanies those who love it in their trip through life and death.

*3 　门迪尼的原话是："Alchimia Group is concentrated in itself. It seeks details of thought inside itself, with the sole intention of signaling its poetic vocation. It performs its act of introversion内向, its minimal creative will, beyond all judgement. This is Alchimia's 'new morality'."

参考书目

[1] Robert Venturi: Complexity and Contradiction in Architecture , The Museum of Modern Art Papers, 1996, ISBN-10: 0870702823; ISBN-13: 978-0870702822.

[2] Bernard Tschumi: Architecture and Disjunction , The MIT Press, 1996, ISBN-10: 0262700603; ISBN-13: 978-0262700603.

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[5] Robert Venturi: Complexity and Contradiction in Architecture , The Museum of Modern Art, New York, 2nd Edition, 2002, ISBN-10: 0870702823; ISBN-13: 978-0870702822.

[6] Robert Venturi: Learning from Las Vegas - The Forgotten Symbolism of Architectural Form , the MIT Press, 1977, ISBN-10: 9780262720069; ISBN-13: 978-0262720069.

[7] Bernard Tschumi: Architecture and Disjunction , Cambridge, MIT Press, 1994, ISBN 0262700603, 9780262700603.

[8] Hauffe, Thomas: Design: A Concise History. London: Laurence King, 1998, ISBN 9781856691345.

[9] Barbara Radice: Ettore Sottsass: A Critical Biography, Random House Incorporated, 1993, ISBN 0847816818, 9780847816811.

[10] Grace Lees-Maffei, Kjetil Fallan: Made in Italy: Rethinking a Century of Italian Design, Bloomsbury Academic, 2013, ISBN-13 978-1-472-55842-8.

[11] Alberto Alessi: The Dream Factory Alessi Since 1921 , Electa, Milano, 2000, ASIN: B00136WUH6.

[12] Penny Sparke: Italian Design: 1870 to the Present , Thames & Hudson, London, ISBN 0-500-23531-7.

[13] Volker Fischer (ed): Design Now, Industry or Art? Prestel, 1989, Munich, ISBN 3-7913 0854-8（德文版）；ISBN 3-7973-0922-6（英文版）.

[14] Joan Kron & Suzanne Slesin: High-Tech: The Industrial Style and Source Book For the Home , Clarkson Potter, 1984, ISBN-10: 051753262X; ISBN-13: 978-0517532621.