A rooftop racetrack: The Fiat Lingotto factory in Turin, Italy (1923)

1925. Veduta panoramica dello stabilimento Lingotto dalla collina torinese1926. Stabilimento Fiat Lingotto. Rampa elicoidale

Fiat, the phantom of order (1964)

Reyner Banham
Arts in Society
April 18, 1985

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Last year’s grand international consultation (don’t ever call it a competition) on the future and re-use of the old Fiat car factory at Lingotto in the inner suburbs of Turin, was demonstrably a gilt-edged occasion, since the exhibition of the proposals, mounted in the abandoned building itself, the sumptuous accompanying literature and all the associated manifestations clearly cost a pretty lira or two, and the architects consulted included our own James Stirling and Sir Denys Lasdun, as well as other heavy-duty talents from both sides of the Atlantic.

Like the equally grand consultations to find an architect for the second Getty Museum in Los Angeles, it may prove to be one of the major architectural events — or possibly non-events — of the past year or so. But why all the bother? Locally, the issue seems to be simply that Fiat is Turin, and Turin is Fiat. The company embodies and symbolizes the industrial power of the city, and the factory commemorates all that labour history and union politics that have marked the long years of the love-hate relationship between Fiat and its workforce. Indeed, one reading of local history would insist that the plant was built in its very straightforward concrete-and-glass form in “deliberate and concrete response to the factory occupations, the demand for syndicalist control, the workers’ councils.”

More than that, however, the Lingotto plant is just the biggest thing in town. A single building four storeys high and half a kilometer long, with a press shop and other ancillaries at either end that bring it up to almost the full kilometer, it outbulks even the most grandiose of Turin’s baroque monuments. Its disappearance would not only re­move a big piece of local history, a memorial, a symbol; it would also leave a huge hole in the skyline along the via Nizza.

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It would also remove a building whose unique position in the history of modem architecture cannot be equalled anywhere in the world. Hence the international interest of which Fiat is so acutely aware. Yet it was the work of no great or famous architect, and the name of Its designer — Giacomo Matte Trucco — seems to attach to no other building that is known at all. Nevertheless, its status has been that of a masterpiece ever since it began to be known in 1920-21. It got into all the forward-striving books by people like Le Corbusier immediately, and into English language texts by the likes of Lewis Mumford within a decade. For this rapid acceptance there are two reasons, I think: one is that it fulfilled a modernist myth; the other is that it had a terrific gimmick. Continue reading

Young Lukács

An interview & photo gallery

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Image: Georg Lukács seated in
the darkness of his library

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From an interview conducted by the New Left Review, translated 1971:

New Left Review: How do you judge today your writings of the twenties? What is their relationship to your present work?

Georg Lukács: In the twenties, Korsch, Gramsci, and I tried in our different ways to come to grips with the problem of social necessity and the mechanistic interpretation of it that was the heritage of the Second International. We inherited this problem, but none of us — not even Gramsci, who was perhaps the best of us — solved it. We all went wrong, and today it would be quite mistaken to try and revive the works of those times as if they were valid now. In the West, there is a tendency to erect them into “classics of heresy,” but we have no need for that today. The twenties are a past epoch; it is the philosophical problems of the sixties that should concern us. I am now working on an Ontology of Social Being which I hope will solve the problems that were posed quite falsely in my earlier work, particularly History and Class Consciousness. My new work centres on the question of the relationship between necessity and freedom, or as I express it, teleology and causality.

Georg.Lukács and Béla Balázs

Georg Lukács and Béla Balázs

Traditionally, philosophers have always built systems founded on one or the other of these two poles; they have either denied necessity or denied human freedom. My aim is to show the ontological interrelation of the two, and to reject the “either-or” standpoints with which philosophy has traditionally presented man. The concept of labor is the hinge of my analysis. For labor is not biologically determined. If a lion attacks an antelope, its behavior is determined by biological need and by that alone. But if primitive man is confronted with a heap of stones, he must choose between them, by judging which will be most adaptable to his use as a tool; he selects between alternatives. The notion of alternatives is basic to the meaning of human labor, which is thus always teleological — it sets an aim, which is the result of a choice. It thus expresses human freedom. But this freedom only exists by setting in motion objective physical forces, which obey the causal laws of the material universe.

The teleology of labor is thus always co-ordinated with physical causality, and indeed the result of any individual’s labor is a moment of physical causality for the teleological orientation (Setzung) of any other individual. The belief in a teleology of nature was theology, and the belief in an immanent teleology of history was unfounded. But there is teleology in all human labor, inextricably inserted into the causality of the physical world. This position, which is the nucleus from which I am developing my present work, overcomes the classical antinomy of necessity and freedom. But I should emphasize that I am not trying to build an all-inclusive system. The title of my work — which is completed, but I am now revising the first chapters — is Zur Ontologie des Gesellschaftlichen Seins, not Ontologie des Gesellschaftlichen Seins. You will appreciate the difference. The task I am engaged on will need the collective work of many thinkers for its proper development. But I hope it will show the ontological bases for that socialism of everyday life of which I spoke. Continue reading