Carlos Alberto Romay Vergara is architect. He was born in La Paz, Bolivia in 1968and studied at the Faculty of Architecture of the Universidad Mayor de San Andrésin La Paz and in the Katholieke Universiteit of Leuven, Belgium, where he obtainedthe Master in Architecture in Human Settlements in 2002. He has been professor of History of Architecture at the U.M.S.A., La Paz and has held the position of lecturer in the field of Morphology in Design in different universities. He has recently won a place for a Master Course in Advanced Architectural Design at the Faculty of Architecture of the Oxford Brookes University, Oxford, UK, and the John Henry
Brookes scholarship in the same university for the year 2009.
Summary:
I) The Name of the Book.II) Objectives.III) Content.1) Several Books in One.2) Map of the Book.IV) This Chapter's Bibliography.V) General Bibliography of the Five Chapters.VI) The Author.
I) The Name of the Book.
This book is on Architectural History. History is not merely a narration of the past in which thehistorian justifies ideologies but a provision of non-restrictive views which establish a net of connections among historical lines and plateaus of History. My view does not establish points butcontinuities. History is a plateau, an unrestricted scenario of multiple combinations in which criticalconnections are possible, as follows the theory of 'Rhizomes' by Deleuze and Guattari (depicted inthe book that has the same name).The name of the book, ‘Histories=Plateaus’, alludes the relationship existent between both terms.The ‘=’ sign opens a process in which one of the terms must move in order to become the other.Hence, to keep the equivalence the relation has to be more than mimetic, as if the title were‘History~Plateau’ (that would be read as ‘History similar to Plateau’, in which there is a partialequivalence). The ‘=’ sign implies that one term of the equivalence has to move in order toaccomplish the identity of the other. The equivalence in this case denotes movement. History isalways in movement and in permanent transformation. Furthermore, the content of the book discovers new relationships that have the capacity of influencing the present and the future.The book supports the concept of Modern and Contemporary Architectural History as a transverserather than lineal field through references to the oeuvre of architectural practices whose thought isquoted. Through comparison, the oeuvre of outstanding authors is mentioned as example of theevolution of concepts in different times and spaces.Writing a book that may be arranged in different sequences establishes a whole that precludesrigidity and definition. Hence, the book suggests through configurations the connections in theinfinite plateau that History is. Being primordially social, History follows the trace of socialrelationships as a plateau too. In this sense, I propose five essays (which constitute the chapters of the book ) in which the definition of the concept of Rhizomatic History profiles through the book'sconfigurations, numeric and diagrammatic sequences of movements.
II) Objectives.
The objective of the book is to question the traditional view of History as a justified and orderlysequence of events that have a linear structure. Numbers from one to five were attached to thechapters of the book to identify each chapter through its numeric and individual diagrammaticsequence.Chapter One is ‘Concepts and Diagrams’.Chapter Two is ‘Connections and Links in Time’.Chapter Three is ‘Questionings to Repetition’.Chapter Four is ‘History Without Structures'.Chapter Five is ‘The Architecture of Differences’. Numbers attached are random; the order does not have any signification. Number one does notmean that such a chapter is the beginning of the book. Chapter Two is neither the antecedent of Chapter Three nor consequence of Chapter One. Occasionally some of the chapters may be used inorder to clarify others, but this connection is not decisive: a chapter is not requisite for other. As aconsequence, every chapter may be read independently.The following matrix provides the number of the chapter, its name and its individual objectiveTable 1:
Number thatDesignatesChapter's Name.Chapter's Objective.1Concepts and Diagrams.To discover the transformation of meaningin the work of art and architecture.2Connexion's and Links inTime.To detect relationships among buildings indifferent times and spaces.3Questionings to Repetition.To criticize the role of tradition anddomesticity in architecture.4History Without Structures.To select a vocabulary of spatial conceptsthrough the analysis of buildings.5The Architecture of Differences.To classify lines of Architecture in the present moment of Modernism.Each chapter’s objective is the same cognitive level as the other chapters’ objective (Creative level),so that they may be read in any order. If the chapters’ objective were inferior cognitive level (for instance, informative, reproductive or productive level), some sequences would be mandatory,establishing a forced link from the inferior to the superior level of cognition. On the other hand,they are all the same level to provide liberty in the combination of chapters.
III) Content.
In this book various objects are comprised:1) Several books according to the combinations of the chapters.2) A map of the book.1) Several Books in One:
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Comparative History by Carlos Romay
Based on the theory of free connections or rhizomes by French philosopher Deleuze, the author experiments with the book as a mechanism for multiple possible readings. Moreover the author provides the grounds for a conceptual mapping…
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