Lee el texto y responde las preguntas: La ciudad como palimpsesto

Medieval scribes, short of parchment, would scrape the ink from old manuscripts and write over them; centuries later, scholars with ultraviolet lamps found the ghost texts still legible beneath. The palimpsest has since become the historian’s favorite metaphor for the city, and for once the favorite is deserved. No city is designed; cities are overwritten. The boulevard follows a medieval lane that followed a Roman road that followed a track beaten by cattle toward water, and the commuter who curses its illogical curve is arguing, unknowingly, with a herdsman three thousand years dead. Property lines fossilize ancient quarrels; a kink in a row of houses preserves the bed of a stream buried in brick a century ago. Reading a city this way changes one’s politics toward it. The planner’s recurring fantasy — raze the accretion, draw the rational grid — has been indulged often enough to be judged, and the verdict is consistent: the gleaming districts built at a single stroke tend to repel the life they were drawn to contain, while the incoherent old quarters, all compromise and patch, remain stubbornly beloved. It would be sentimental to conclude that nothing should ever be demolished. The truer conclusion is humbler: a city is less like a machine awaiting an engineer than like a long argument among the dead, the living, and the unborn — and wise governance enters an argument hoping to continue it, not to have the final word.

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