A reversal of ruins in which to look/to engage the making, the building, the
labor,the blue-print investiture - the foreman over-looking the plans en
situ: the beauty = curled, black-gray, cylindral ribar pillars betwixt wooden
rectinlear forms raised and lowered by a huge crane - the chain- hook drops
each one into vertical place - followed by a tall Franz Kiline elbow-shape
whtie pipe delivering the wet concrete gray flow.
The reversal of ruins - to witness the ultimately dead structure in advance -
to locate beauty there - ribar patterns (the vertical cylindrical spires,
the plywood foundation supports - raw wood abstract field squares, the
curvilinear gestures; the plastic, te temporalily orange capped uni-linear
spikes; the rhythmic, minimal shadows, short and long, variant to the hour.
Pactically playful in the rhytmic/repetitive manner of early Steve Reich. To
meaure the past (to be done decades hence(here in Silcon Valley) here in
advance in witness of the present - the sound of Latino, labor voices rising
against the plywood, hammering the triangular flashy metal plates into
pattern to hold the forms in place.
To catch it here, the raw architectural beauty: the formal, ribar grid, the
ventilated shadows, labor's force (those guys, mostly latino, with blue
print, the clicking hammers, and extended yellow tape measure) the compelling
charm of infrastructure, the ruin in advance before the envelope: the 166
unit, town-houses of what one suspects- in an odd, sad contrtadictory way
(in that I love watching the variant formality and beauty of contstruction)-
will be without awe or corralary (as in process, construction) beauty.
To catch, absorb, participate in labor before it is branded, supplied with
logo- to be there at the beginning and see the skeletal end forshadowed; to
avoid the middle-age of capital (the completed structure, its inherrent
boredom). The pleasure, birth previsioning ruins. A remaining romance. The
eye dances.
Cheers,
Stephen Vincent
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|