One can ﬁnd the desert, they say, even in the most sterile of places.
There is this dean of studies in a ﬂuorescent-lit room somewhere, and he does things deans of studies do all the time, he keeps an eye on things. His ofﬁce is like a bunker too, it does not have windows, and the proportion of the plan is 1:2 (trained – not ‘practicing’ – architects amongst you will know what it means), so you will immediately notice how dean keeps an eye on himself. You always will sense it in the room, an eye disembodied, detached yet not without a sense of humor, as people and papers shufﬂe about.
I would not comment except that I increasingly see practicing architects trying to ﬁll this space with biographies and memory, symbolization and theorization of the self – it is no longer uncommon for these architects to speak about their ethnicity, feign madness, even – and recourse to history. ભૂતાવળ, such a populated space between the “I” and its surroundings is called in Gujarati, a bewildering space that is conjured out with past-beings enveloping the present and accompanying it everywhere.
Énoncé – A City Machine, analysis of enunciative modalities.
The both, the city and administration of architecture courses, are the same to me, I know the city and professional architects as distinct ﬁgures appear late in history, and only later do they travel, in the manner of ﬂotsam, to South Asia to arrive at about the same time.
A ‘miraculous fourth dimension’ Le Corbusier called it, found without semiotics, in ‘ateliers of patient research’.
Camus, Albert. The Minotaur or the Stop in Oran (1939) in The Myth of Sisyphus, and Other Essays. London: H. Hamilton, 1965.