In the mood of Love,

Or how architecture is nothing less than prostitution.

It is not difficult to realize that senses, perceptions and social practises all inevitably have two sets of qualitie: One that is universal, essentially a permanent search for the pleasant, the out-of-ordinary, and the satisfying experiences; and the other that is bound by history, collective memories that cumulated to a social or cultural context, which creates particularity. Whereas some physical or ideological “concrete” structure may be accepted as positively existent across the globe, manifested through form, materiality, or a new school of thinking, the responses it triggers can potentially vary subtantially, and in the extreme case, nothing.

It is proposed that, hence, there are no importance to “geometries”: there is no ”sex” in a prostitute; the sex took place, which was then partially preserved in the memory of the “man”, and partially passed onto a collective ritual that accumulated into “prostitution”: the role of the prostitute, funnily, is minimum. Designers should by now realize that, geometries, however aggressive, are by themselves helpless and meaningless, and can only provoke as much excitement as the society indulges: architecture accidentally becomes the object of fantasy by its inevitable erection in the centre of attention, becoming the scapegoat of unsatisfied mass energies. Period.

It shall be clarifed that “geometries” do affect the experiential and the practicial, but these are only derivative qualities that again and again dominated the centre of discussion; what distinguishes “architecture” from “geometry”, “prostitution” from “sex” is hence, existentially, a recognition of “roles”, not of “what it does”, but of “from what role to do it” and “how to play to role”.

- Max 20100408