The colored future is about the fashioning of appearance [not identity, which suggests the fact of being, who or what a thing is, but is rather about what an entity appears to be], about the maintaining and keeping up of appearances. The colored future is the realm of pretense. [As in a condition of reality that while seemingly ever more diverse and inclusive is in actuality fictitiously democratic and strictly exclusionary.] This colored condition prompts an architecture that is obsessively material, entirely concerned with issues of surface. Here the architect is most critically and profoundly at work as the designer of disturbances of that surface, choreographer of decay. Faulty means and corrupted methods launch an illegitimate architecture, passing as whole, complete, fully fit-out. What does it mean to design an architecture to deliberately remain in a perpetual state of decay? A state, not of total disintegration, but rather the amassing of seemingly insignificant instances of material failure, ensuring continual upkeep and unending maintenance. Processes of construction, reconstruction, renovation and maintenance as syntaxes, programmed and run through agents of labor [the Mexican day laborer] are hacked and infiltrated. It is through the multiple incarnations of itself, enacted, failing, refashioned and again that the designed system and specifications of decay and degradation become synchronous objects with the enduring presence of the day laborer. As cue giver the architecture in its failing condition - its peeling paint, cracking walls, leaking surfaces, torn and frayed coverings - initiates a series of gestural articulations, an encoded system of unspoken permutations that upon receipt prompts reactive behavior from the laborer, the cue receiver, granted access to arenas otherwise unattainable through his acquiescing to his prescribed role as diligent and effective laborer. A reversal of this relationship ensues when the corrective work, the perceived reconciliation is mishandled. The laborer acting as cue giver prompts failure upon receipt of the cue from the disturbed architectural surfaces. A continuous loop is enacted, a cycle, a dance. The choreography of the ornament of decay, degradation and renewal, a compulsive repetitive state. In a colored future the architect, in collusion with the laborer, incarnate in the architectural entity, hacks the realm of pretense, constructing sites of subversive resistance in an increasingly colored future.
YUP. So, the seemingly indelible architectural surfaces of The Waldorf=Astoria Hotel, New York, are set as the stage for a series of speculative interactions with Mexican day laborers, whose work, intentionally ill performed enacts an ongoing cycle of deterioration and decay to re-fashioning and reforming, in a perpetual act of subversive occupation through and by labor in an increasingly colored future.
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