Louis Armand

gravity’s aspect

1. opposite approaches crystallise

if there is a single
direction
the reader
will discover
that it is
plural: the idea
that an architect
must
master several styles
& codes
of communication & vary these
to suit each
particular
culture


2. “linear ordered continuous determinations of [spatiality] in reference to an entire cultural system” articulating sense in strata of poured concrete (geometrical certitude) the obsessive idea of construction the “assembling” of stones of machines industrial objects superimposed in side elevation like an engineering diagram (re) a-scribing identities themes traits logic the transformation of place from inertia to inertia simulating elements in rigid symphony an ascesis rising vertical from this desert like a petrified tongue vanishing in the mute distance of its avowals (“on a cru au pouvoir de la parole...”) cf. hegel who attributes the origin of architecture to the genesis of babel (a╠łsthetik) a geometry of consonance the colossal work of translation aspiring to godhead “an aporia that cannot simply be endured”? (consequently artaud while referring to it as “the toxic state” distinguishes his practice through a “will to meaning” he searches for a language communicates with others) “this implies that structure has its own formal elements that these elements are imminent to structure & that the entire existence of structure consists in its effects...” i.e. arrested causation in the genealogy of the noun rendering: “confusion”

3.
fig. I. “choisir d’une masse
incompréhensible un seul détail
speculatif...

4. but let us return to this subject: the destruction of form
—piet mondrian

[below
the
fire
escapes
the
avenues
are
a
concerto
beginning
with
all
the
piano
keys
pressed
down
so
that
each
note
is
re
leased
anonymously...]