ManifestoQuestionPRESIC
2:08 am. Cigarette, Coffee. Marylin’s eyes temping me and I gaze back into them, a black and white photo I ripped out of a magazine years ago, a solo piano trickles through the backround, the orchestra fills the room.
I wonder if every generation doubted as we do the future of their art and saw in it a crisis. So is the nature of our education; the jacketeers and their prolific quest to solve all our problems, myself, weary, finding impetus in those same unsolvable problems. Looking for it I find it again in Marylin’s eyes, her story unfolding to the ecstatic frustration of Rachmaninoff’s concerto no. 4. Largo-attacca subito ...1

Two Types of Architectural Disturbances

Architecture is a love story between seeing too much and not seeing at all. In the mind of the practitioner, the story unfolds as the two meet, become aware of the other’s strengths or scars and struggle for dominance. There is rape, scornful affections and intrigue. In a near mania, a cyclothemic rythme of meaning and action the two collide and embrace. Their differences are their compliment during the turmoil brought by war, but the architect is not content with solutions, only the problems they structure; is their future doomed?

When love leads to suffering it induces a mental disturbance in the architect’s mind. The syntax of architecture breaks down and slips into aphasic dominance.The aphasic architects embody the hero and herione, once beholden as actors on the stage of contemplation, the nature of their romance is now revealed on the scale of body-event.

When the two meet, they are unaware of the impending war which will in time drive them apart but ultimately bring them together. It is a time of prominece and the herione takes full adavantage of a structured formalism that is her geneologyand her supposed fate. For her the image is the literal, her charm and beauty conquer all save the one she desires, she cannot understand why...

The hero enters as foreign occupier who he sees only in context. His aphasia blinds him to the beauty projected by the herione. He sees her struggle in the world and is intrigued by what he measures as his opposite.

A move, and the consciousness of war sets in. The aphasics takes to their poles. Sherman marches towards the sea and destroys all in his path. Her imageis no longer, his contexture ever changing.

Reconstruction is mimesis, re-producing the form of a nature that was lost. Survival in this time proves their dependence on the other. He is the guardian of “nature”, her resourse for giving form so that they may appropriate it for themselves. The answer lies not in her mimesis or his reflection, but in their crossing.2 As characters in the mind of the architect, this is their stuggle.

1“attacks enduring”
2Ingaray, Luce. “The Power of Discourse and the Subordination of the Feminine”