Refs.2. Kipple world/ an underground world antique / a living architecture

Reference: “Kipple”

The blanket of the city, B.Runner

What I call kipple – junk, scene.

In the scene where Pris waits for Sebastian to return home we witness Pris hiding under a non distinguishable mess of disused appliances, paper mess, garbage, old cableware and other disused objects.


“She’s a replicant, I doubt she’d mind the dirt”, she’s the only one amongst the living creatures of the city that can make use of the most disused the most discarded material. She’s camouflaged behind this debris. She’s using it as a blanket, a superficial strata, an unprocessed, randomly formed, blanket of the city.

-I often think that specifically in Blade runner, kipple, tends to become almost an entity of it’s own, it makes me think that if we could get our hands on it and analyzed (as in the pictures), we would end up with a very specific material vocabulary of the fictitious world.

-Brazil, 1985

De Niro’s becoming kipple.

P.K Dick’s idea of people turning into kipple, what he describes as human kipple. As kipple symbolizes the excessive amount of useless information in the form of disused paper, posters, feuille volant. Dick created a device to describe the diffused and desensitized human brain, the reduction of human to just living beings that operate within society in a rather undirected manner.

-Roma, 1972

“An underground archeology.”

An unexpected discovery occurs whilst the chief engineer takes a couple of german journalists-filmmakers into the freshly opened metro tube of Rome. In the scene the main characters get periodically immersed into this undisclosed world antique, which until recently was buried under  an opulent geo-archeological strata, meaning the layers of the city built onto each other, comprising themselves an valuable ancient specimen, a representative piece of human evolution. The wagonette that carries the chief engineer with his German guests, travels through the freshly opened hole. Now this has become a ground of contemporaries to walk and create upon. This ground is no longer  as sanctified as before. The Fortresses of the past have been finally uncovered (talking about the necropolis, see picture) with the same distance as the Dinosaurs were viewed in jurassic Park through the automated 4X4’s in the automated tours of the park… You’d dare to walk the mysterious land alone… I presume Fellini very rightly draws a critical view on Roman modern life by devising the impairment of the ancient murals when they come to contact with outside air. It is when somebody thinks that the air driven down through this newly opened tunnel connects finally the outside “heterotopous” world with this respectively pure one. It makes us think of the essence of discovery, how folly and twofold it is, if we only think of the problems and oxymorons that contemporary cities have brought to surface with their prominence  of constant discovery.

-Roma makes us think of the city as series of layers or slices build on top of each other. A huge drawer full of unspeakable findings. In the discovery of ancient Troy, a series of representations have been drawn on top of each other according to the archeological strata of each historical period.  The location is the same, however the map is redrawn, layer by layer on top of each other, making an animated archeological remark of human urban evolution. What can oneself argue as a multidimensional view to the psycho-geography of the city.

Below, Athens metro tunnel, A room full of vessels, collapses after the passing of the giant drill.

Living Architecture. Building of Mending properties.

8.1/2, 1963

Scenes of a life, as scenes on a theatrical play. The characters of it’s world find refuge, as they play an act finale of their own life-hoods.

Observations: Space alone, lack of human presence, lack of public or social presence.

Again besides it’s antithesis this scene performs for Guido (Marcello Mastroianni) a rather mending operation.  His escortee, feels cold and wanders why they stopped in such a weird and abandoned place. We could argue that this door behind Guido on the left picture resembles the entrance to his family home. We don’t know that, but comparisons are evident since the flashbacks to Guido’s childhood and to the dream of “women of his life” take a prominent place in the plot. The house these two scenes take place is the same. There’s something uncannily different in the dream scene. Now on that final surfacing of Guido’s delirium, space appears cold and abandoned, as if history is no more than an inanimate amalgamation of an architectural set. For Guido that is the only living example of his history and it’s natural for him to find refuge in it. Besides the prominent appearance of perspective as a traditional illustrative trick on the shot, I would like again to refer to the historical multi-strata of the Italian city since it’s on the walls texture  that history can be evidently witnessed (Mediterranean, heteotopous city),The building becomes an artifact which finally performs a living and spiritual operation. The 15 century courtyard tends to Guido’s last refuge, but also his final hospice from a series of spiritual ventures.


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