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The conflicting impulses of lightness and gravity are more often taken for granted than theorised. They are experienced as the will to ascend from the earth or to merge with it. In modernity, the propensity to launch buildings into the air is usually taken to refer to the will to rise above and remake the world in a new mould, to break with the weight of traditional materials and contexts. So, recent critiques of modernist lightness, such as Adolf Max Vogt’s concept of the ‘suspension-syndrome’ (1989) and John Rajchman’s of ‘immateriality’ (1994b; 1994c) have focused on the elements of ‘dematerialisation’ and ‘transparency’.1 Building in the air manifests a will to reject earthly and bodily matter.2 The earth shows traces, gets worn, accumulates history. The air does not; it offers least resistance to being filled with new projects.3 But Rajchman argues, referring to Nietzsche and Calvino, that the lightness of today’s architecture is more a question of how to displace boundary stones, how to lighten the earth itself. 1. See also Fossati (1971) and Lynn (1994).

What Goes Up Must Come Down: The Combat of Impulses in Italian Futurism and Rationalism