The Chamber of Secrets

As we begin to finish with the twentieth century; where it is reduced to a distant memory, the rhetoric emerges amongst architecture and that which could not have been; to stretch the plausibility of an argument over time; amongst time. The mediation of architecture is paramount to explain our heretical issues as quite ordinary but verging on the extraordinary. To democratise space is not to be a world, but an island with universal aspirations to extrapolate the inconsistencies in the application of art within architecture.

The uncanny or unheimlich situation about this building is that I worked on it at the Oranienplatz office of Max Dudler. I was preparing my appendix to my failed diploma at the Architectural Association for submission that summer. While model making, drawing and generally enjoying myself it always struck us at the buro that when we took the plan to the xerox machine it would fit exactly on the A3 sheet, helped by the external fire stair that I carried as an input from my student days at Portsmouth; specifically our halls of residence, Burrell House. Ofcourse outside of the buro I was drafting my submission that was extrapolating the mechanics of the DIN format; calculating folds and shadows. Now that time has passed it appears that a drawing from an architect can be a pure reflection of an existing plan, whether it is the Parthenon, Altes Museum or a Unite d'Habitation. These are polemic works that have masterminded an approach to both health and a lifestyle, that are seemingly governed by external forces, so that architecture is not subject to the truth.