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Sabato Rodia's Towers in WattsArt, Migrations, Development$
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Luisa Del Giudice

Print publication date: 2014

Print ISBN-13: 9780823257966

Published to Fordham Scholarship Online: September 2015

DOI: 10.5422/fordham/9780823257966.001.0001

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PRINTED FROM FORDHAM SCHOLARSHIP ONLINE (www.fordham.universitypressscholarship.com). (c) Copyright Fordham University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FSO for personal use.date: 15 October 2019

Everybody Knows This Is Nowhere

Everybody Knows This Is Nowhere

Structure and Performance in Rodia’s Watts Towers

Chapter:
(p.68) (p.69) Everybody Knows This Is Nowhere
Source:
Sabato Rodia's Towers in Watts
Author(s):

Guglielmo Bilancioni

Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823257966.003.0002

This chapter reflects on Rodia's Watts Towers, described as embodying “a philosophy of freedom, an image of human labor, and the everlasting creative tension—a true performance—toward realization.” Rodia courageously joins the Opus Incertum, assembling it into a new iconology, recycling and upcycling broken parts into meaningful fragments, fractal geometries, and kaleidoscopic aesthetics, where symmetry and rhythm predominate. For Rodia, his Towers have several meanings, including a celebration of California highways (66, 99, 101, the height of the three Towers); a complicated and flamboyant sundial system, casting its shadows in triplicate Stylus, or Gnomon; or a ship of fools or even an ark.

Keywords:   sundial, fantastic architecture, Sabatino Rodia, Watts Towers, freedom, human labor, iconology, Opus Incertum

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