Time-sequence

mask of medusa

Rage Against the Machine

Cai never hides the violence — he picks a material that inherently carries anger: gunpowder, fire, wolves in a stampede, exploding cars.
👉 In architecture, that could mean:

Choreograph the Chaos

controlled accidents

ritualizes it into events of wonder

reconciles violence with transcendence. Fire becomes ladder, wolves become sculpture, war materials become light.

Transfer of energy
Implicitly political
Coexistence with spectacle
Angry Landscape
Ritual of Destruction

The ocean
Rage against the machine
Killing ambition
What’s needed for a simple life
Just an essential life

Environments of Planetary Urbanization

Conflict and consensus as generators (not just freedom).

Algorithmic responsiveness (architecture that “listens” and changes with behavior)

the most important decisions (life, freedom, justice) happen in the least remarkable space.
The least remarkable space
Form the most important decisions
Chasing for architecture significance has reduced society decision making skill
Fake becomes unappreciative

A tale of two cities
Living city living countryside
Question of locality and nomad
Identity and politics
Future where people can travel between the two

This thesis explores the phenomenological experience of oscillating between city and countryside — how moving between the speed, density, and stimulation of the metropolis and the slowness, silence, and elemental presence of the rural creates a unique rhythm of life. Rather than treating city and countryside as opposites or as sites of exploitation, the project reframes their alternation as a source of perspective, creativity, and peace, asking what architectures might support this dual mode of dwelling.

Unprecedented precedents

Kin-Dza-Dza!
TARDIS
Build a Time Machine
Me and my sister in Tianjin, hanging closing rack, spinning, ben 10, to a different floor, fight bad guys
Blue box-lynch
Telephone booth, proto-architecvtural device
building a VR google space

Alexander Brodsky

Two house
One normal, one gay/weird
One day, something happens, Romeo and Juliet,
The house merges and transform
Two Houses: Toward a Queer Novel of Architecture
Romeo Juliet meets pride and prejudice
Return to domesticity, internal struggles

Beauty-talk = unseriousness
Beauty-experience = serious, universal, sublime
reclaims inconsistency as a space of reflection and freedom rather than manipulation

In a post-Trump, post-truth age:

Students are told to “be rigorous,” yet the field’s intellectual scaffolding (modernism, postmodernism, deconstruction, sustainability) has lost authority.

Your refusal of consistency thus reflects a generational condition: being serious about ideas in a world that no longer rewards consistency, but rather adaptability and performative contradiction.
Code-Switching

Spectacle Fatigue
Once inconsistency becomes mainstream (social media churn, meme-culture, AI-generated chaos), people stop distinguishing between genuine critique and empty performance.
→ You risk being read as another stylistic novelty unless your contradictions reveal deeper truths about society, not just yourself.
Moral Vacuum
Trumpian post-truth taught the world to distrust the unserious.
→ The line between “meta-irony” and “bad faith” will narrow; architecture that mocks meaning may be mistaken for nihilism unless anchored to empathy, memory, or ritual.
Institutional Resistance
Academia and the market reward legibility—grants, clients, and prizes prefer clarity.
→ Inconsistent methods are hard to fund, archive, or teach. You’ll need to design your own ecosystem of support (publishing, media, archives) to preserve your intent.

Time Machine in the post AI world
Spatial condition in post AI
He was inconsistent in form, but utterly consistent in attention.
Method of Non-Method
Fostering Intuition in post-AI world

Scarpa method, draw and use intuition, discipline document everyday intuition, personal body experiment
Moral
Purity of intuition
Scarpa’s level of handwork is almost unsustainable today; it requires patrons who believe in slowness.
Unsustainability
it’s about the precision of care amid cultural entropy.
When every age swings between moral panic and vulgar spectacle, the architect who cultivates silence, detail, and ambiguity becomes prophetic
asceticism
His notebooks show almost religious repetition — not a method but a ritual of seeing.
In late-20th-century Japan, several architects pursued kata— bodily repetition as design method.
They kept rigid daily routines of drawing, walking, photographing, reading, seeing architecture as a martial art: form born from endurance rather than concept.
sensory rigor
architect as temporal monk in the data age
cognitive hygiene
Determinism yields power, but without aesthetic and moral awareness it drifts toward chaos—what Scarpa avoided through slowness and care.
Focus Monastic, selective Total, consuming Scarpa drawing endlessly; Zumthor visiting site daily
Aesthetic / Vision Taste-driven, human Techno-futurist, mechanical You: intellectual + sensual paradox
Detachment from Norms Zen + rebellion Rational extremism “Inconsistent consistency”
Can architecture give form to the struggle between human mortality and technological immortality?
Temporal inequality
Technological denial of mortality
Architectural amnesia

t, 2t, Δt, ∞
Symbol Architectural Scale Phenomenon Representation Strategy Material / Medium
t₀ Sensory perception, flash, heartbeat micro-diagrams, sound/light studies film stills, polished metal, mirror
t₁ Spatial gesture, movement, bodily encounter 1:1 installation drawings plaster, textile, heat mapping
2t Programmatic daily ritual, routine plan + time-lapse wood, wear patterns, patina
3t Urban growth, obsolescence axonometric sequences, aging maps concrete, moss, corrosion
Δt Climatic / infrastructural decay, repair, adaptation sectional film, phasing diagrams salt, rust, water
tⁿ Digital / networked feedback, acceleration, algorithmic loops code, screen capture, AI simulation LED, glass, projection
T Civic / political policy, history, law, ideology archive drawing, palimpsest overlay paper, concrete, ink
Ω Archaeological ruin, entropy, collapse fragmentation, excavation drawings ash, sand, fragment model
∞ Cosmological / metaphysical myth, death, the beyond mythopoetic atlas, light and void studies light, sound, void space
t₀, t₁, 2t, 3t, Δt, tⁿ, T, Ω, ∞
t₀, t₁, t₂… discrete instants frames of occupation; temporal section cuts
Δt change in time renovation, decay, repair interval
dt/dx time relative to movement experience speed through space; procession drawings
d²x/dt² acceleration growth of cities, technological acceleration
∫dt accumulation over time sedimentation, patina, memory
∂/∂t partial derivative w.r.t. time change of one layer while others stay fixed (e.g., façade aging)
Symbol Meaning Architectural Reading
ΔS ≥ 0 entropy always increases inevitable disorder—weathering, social entropy
E = mc² energy–mass equivalence conversion of material to energy, data centers as radiant mass
Q̇ heat flow rate heat as temporal agent (Scarpa’s light → temperature gradient)
τ (tau) time constant / decay rate rate of forgetting, corrosion, habit
λ (lambda) decay constant or wavelength material half-life, rhythm of repetition
c speed of light the upper bound of perception; limit of architectural time
γ (gamma) Lorentz factor, time dilation how speed distorts perception (train station, airport)
t′ = γ(t – vx/c²) time transformation in relativity architecture as reference-frame shift (observer vs. inhabitant)
H₀ Hubble constant expansion of urban space; cosmic city growth
Ωₘ, ΩΛ matter vs. dark energy density built vs. void; presence vs. absence in spatial fabric

Linear algebra
The visual doesn’t hold the same power as it used to, circumstances has changed
post-visual saturation
The photogenic form The felt duration
Representation Presence
The object The condition
“Look at this” “Stay in this”
Ritual + Behavior
Data + Feedback
Embodied presence

Hours working in relationship to output
Knowledge in respective of time
Not much thinking, scarpa style just do it

Hundreds of people working together
Less authorship
Start from the door, space grow as measurement of time
Designing a mechanism of democratic self propelled humanism collective design
Human intelligence in intuition
One person is stupid
One on one is smart
One to group is stupid
Democracy, one at a time

Medium format kills imagination
High res low def kills self creativity
What happen when images are far superior than real world
Image of architecture far outweighs see the work itself
Past works are first hand experience
Now the curated images are greater than first hand, so what is first hand, maybe the idea is stronger, but buildings are to live in, ideal too much you live less. So maybe what’s needed in post digital world is real sense of living

Patrick Shummer Talk:

Against the hyper-prescriptive
a craft without a live critical/technical discipline.
Market-driven places still build:
starved of permission
Reduce moralized gatekeeping + prescriptive codes, re-embrace market-driven experimentation, and the discipline (and cities) will evolve again.

How to be slow and accelerate?

Can the precision of care survive the acceleration of creation?
Acceleration dissolves that friction. The hand no longer meets the material; the drawing no longer meets the hour.
lucidity of attention
restore duration
choreograph moments of stillness inside motion
The invention of the ship was also the invention of the shipwreck
Paul Virilio — Speed and Politics (1977)
Resonance, not speed, is the measure of a fulfilling life
The precision of care can survive only where time is still allowed to unfold.
Care exists in studios, not in practice
Time is money; care costs too much, economy game
Time is cost
the faster you work, the cheaper each unit of output.
The slower you work, the less “efficient” you are.
Care is simply time made visible
Ethics of time
to care about nothing, is to care about everything

Fisheye photos
The site being my memory palace
Method of loci on surrealist landscape

Short timelines
Tiny fees
No authorship over materials or detail

We design with eternity in mind, but we’re paid by the hour.

Selling Time
So mediocrity becomes a survival strategy
Alighment, knows, respect
Bad architecture is not evil; it’s rushed, compromised, or disconnected from the time it occupies

Listen-break-invent-argue-grind

Against the institutional ritual fundamentally

A culminating project that demonstrates design ability, theoretical maturity, and independent thinking through the production of a spatial proposition.

Imitation vs real independence
A simulation under safety
Prove your future
Expose design as unresolved
Raw unadorned undecorated
Questions the need for a position
Benjamin old to young
I was born an old man in a young person, die a young man in an old person
Critic the discourse
A thesis that refuses to “be a thesis.”

Core memory
Me and my sister balcony spin Ben 10

In building a Time Machine one found the Time Machine we built are the friends we made alone the way

Death is not the end, forgetting is

No AI is used in the making of this thesis

futurist poster German ones I saw in Paris

experiencial Porche
Nolli plan but with lights at night

No interest in content, textural qualities, experience, materialities, assume the rest works

A practical approach to a fictional problem
Fantasy for the many
Disney and marvel playing to realism didn’t workout

Recent Disney and Marvel films — like The Marvels, Eternals, or Wish — have shifted toward real-world moral clarity, diversity politics, and grounded storytelling.
They try to make the fantasy world socially responsible, embedding contemporary ethics, trauma, and realism into mythic universes.

But audiences often feel these films are:
• “Too moral,” “too self-aware,” or “too politically coded.”
• Less about wonder, more about lesson.
• More like news with costumes than escapist fiction.

It’s not necessarily that people reject “wokeness” — they reject didacticism disguised as fantasy.
Fantasy has power when it reveals truths through metaphor, not when it preaches truths through plot.

Fantasy as a Mirror, Not a Lecture
When fantasy becomes too realistic, it loses its distance, and thus its catharsis.

We live in an age that worships authenticity — realism, lived experience, transparency — yet our emotions still need mythic frameworks to process complexity.

To feel, not to agree

Too many beige wallpaper,
Not an issue of content, but of too many
Always go against the grain
Differences is progress

truth and genius aren’t determined by majority opinion, but by context and contrast.
s, truth and brilliance are relational.
They emerge not from absolute standards, but from the tension between norm and deviation.

Genius is not a fixed trait — it’s a position against the dominant logic.

when everything is relative, power decides what counts as true.

Genius is not only what you do, but when and where you do it — and who’s watching.

The real mastery lies in knowing why you’re the Shakespeare or the monkey — not just being the opposite.

Genius is not in being different, but in knowing when difference reveals truth.
To discern that timing — to separate the subjective from the structural — is the highest intelligence.

“99 Monkeys, 1 Shakespeare: On the Relativity of Architectural Truth

On public perception
Controversies and damage control

On the public, when public is stupid

Contents are overrated, approach is everything

Takes a lifetime to learn content
Takes another lifetime to approach reality

Absolutely preposterous absurd, make it real

Overwhelming content, back to approaches
Should be able to built from any age
Basic pen paper gaudi structure model

The most interesting student projects today are the ones that rebuild approach as a discipline — re-inventing section, narrative, drawing, sequencing — rather than just producing “relevant” content.
More than provocation
Instrumentality in the everyday
Different social domain
In the 16th–18th centuries, architecture, painting, sculpture, and science were part of the same continuum (Michelangelo, Raphael — all did everything).
But in the 20th–21st centuries, the “art world” and “design world” split into separate institutions, audiences, and economies.

He warns that architectural events like the Venice Biennale risk being taken over by art-style provocations — “slogans and images instead of work.”
He calls that “political correctness and bad art.

performative, conceptual, slogan-driven
Rigor as a discipline
He’s saying: beauty, provocation, and artistic effect are consequences, not definitions.
Architecture, to him, is disciplined art — one that accepts responsibility for use, society, and material reality.
synthetic intelligence
curators of systems
editor of processes — the person who orchestrates how materials, algorithms, organisms, and stories form space
Narrative + System + Behavior
approach over content
instrumentality and provocation
product is heavy, regulated, and slow
Creator of approaches, curator of contents
tactile, crafted, and poetic medium
approach is generative, content is circumstantial
Take an objectively look at all possible ways of making as of now, what is more valid
logic of making
methodological temperament
System of human algorithms
End-to-end human system
a distributed, human algorithm — an organic network of workers, designers, craftspeople, and thinkers.

Even in “creative” industries, labor is often invisible, underpaid, and alienated — from garment factories to gig-economy rendering farms
cathedrals, imperial palaces, and even Scarpa’s exquisite detailing were built by laborers under rigid command

Participatory: decisions distributed, not dictated.
Transparent: processes and compensation visible.
Reciprocal: every human in the chain receives recognition, education, and dignity.
Temporal: slowness is accepted as ethical resistance to exploitation.
Narrative: workers are not invisible—they become authors of the architecture’s story.

On Ethics
The Human Algorithm: Between Craft and Exploitation

To listen with an understanding and acceptance of fallacies, poor ethics, mistakes, and human sin

Traditional ways have precedetents and limit potential and excitement, less meaningful
Radical ways have no precedents and unlimited potential and ultimate meaning

To improve the qualities of built spaces
Find meaning and convince change
Disgust against what you don’t like
Leader and meaning, don’t hate, fight
Get rid of the will to impose

create aversion to the old, to open desire for the new.
Ethnic cleansing narrative
Disgust protects the ego from the impure or threatening
moral superiority

Walter Benjamin / Adorno Critiqued the myth of progress — warned that aesthetic “purification” leads to ideological violence.

contempt rather than curiosity

Disgust is the opposite of care.
Scarpa, Zumthor, and Kéré work through empathy — tactile closeness, attention.
Schumacher’s disgust rhetoric replaces engagement with repulsion.

It treats society like a body that must be purified — a metaphor with fascist undertones when extended to people or styles.

But moral improvement doesn’t necessarily come from replacing aesthetics — it comes from deepening relationships.
Thinking people act on impulse emotion is degrading
he cut into it lovingly, creating dialogue between new and ancient.

Correctness alleviate the burden of decision
The modern designer relies more and more on his
position as an ” artist,” on catchwords, personal idiom, and
intuition- for all these relieve him of some of the burden
of decision, and make his cognitive problems manageable.

he hides his incompetence in a frenzy of artistic individuality.

As his capacity to invent clearly conceived, well-fitting forms is exhausted further, the emphasis on intuition and individuality only grows wilder.

What is worse, in an era that badly needs designers with a synthetic grasp of the organization of the physical world, the real work has to be done by less gifted engineers, because the designers hide their gift in irresponsible pretension to genius.

The loss demands attention, not denial

No clout, not cool

Ensemble

On the one hand, the impractical idealism of designers who want to redesign entire cities and whole processes of manufacture when they are asked to design simple objects is often only an attempt to loosen difficult constraints by stretching the form-context boundary.

real trial and error is too expensive and too slow

Patrick and trump and hitler, use fallacy and sins and being wrong and controversial is the quickest way to affect change impactful, but it is riding on sins,
The other side is the good care work listen, but paradoxically those people will starve to death, because entropy and universal energy, they are not efficient enough to survive,
So it becomes a cycle of bad people making progress money then supporting the good people just enough so they don’t starve, and that’s enough of equilibrium for society to function,
When good is too much, a society starves, when bad is too much, you get uprising.

creative destruction and regenerative care
homeostasis through moral asymmetry
Doing good rather than condonmming bad
Capitalism capped by environmentalism
society becomes very shallow and unoriginal, we are old dying, desperate push, everything for yourself,
Solution: expand into space, humans are invasive species
Existential
protestants tend to think that if you don’t want to be good for its own sake, then your good behavior somehow “doesn’t count.
Salvation is by faith alone
goodness “for its own sake” must come from an authentic heart; doing good for ulterior motives doesn’t count spiritually
habitual good behavior itself has moral merit
The anxiety of proving one’s inner faith through outward signs (diligence, discipline, honesty) produces the Protestant work ethic.- moral oral

  1. Cultural Summary
    Tradition What makes “good behavior” count?
    Protestant (esp. Calvinist) Genuine faith and inner sincerity; external good without belief = empty
    Kantian secular ethics Acting from duty, not self-interest
    Catholic External acts of charity and sacraments convey grace even with imperfect motive
    Confucian Moral habit and social harmony built through proper conduct
    Utilitarian Outcomes, not motives, define goodness
    aesthetic sustainability
    Hugh impression and ideas a glass full
    Conceptual abstraction, what we see and what we understand, and what we produce
    Inability to imagine
    I am thinking therefore I am
    I think therefore I am
    he in-
    evitable outcome, characteristic of the current profession, is a mosaic of
    expert knowledge brought together either as abstract systems or as the in-
    tuitive improvisations of personal vision. In both cases the work produced
    falls short of the required conditions and true possibilities of the task.
    when individuals and groups develop a link between their own
    imagination and their own reason that serves their own ends, and
    are not fundamentally concerned with the overall shape of the society,
    fragmentation inevitably ensues.
    Everyone emotionally or
    intellectually, politically or economically grabs his fragment, which
    is partially real and creates a total reality with it. The splintered
    identities, the competing ideologies, the fractured parties and the
    glaring, cluttered advertising of competing businesses assault the
    person and the society from a thousand sides

Practical approach
Practical problem
Boring
Fictional approach
Fictional problem
Interesting
Fictional approach
Practical problem
What
Practical approach
Fictional problem

At this point in history we appreciate Rossi’s book not so much for its contribution to the development of theory as for its very expression of ideas, its exemplification of an architect making use of words.

Headless flies attached to lantern, the lantern being a higher being designed to kill you. One could design the lantern, of which the architecture makes dying okay, give life direction. Or one could explore the darkness, and live a life of the anti-christ. But as a fly explores into the darkness, he finds another lamp, and another lamp, and realize the lamps have a higher god. So the fly settles it and try to make his own lamp, attact the other headless flies so the fly himself can experience for a brief moment, what god feels like in this brief world. But the lantern burns, and the fly knowing his mortality, passes down his story to the flies around his lamp. Young flies spread far and make their own lamps, but there are only so many flies, and too many lamps, so they begin fighting for flies, they say some lamp are not real, some lamp are better. Soon the better lamps win through bloodshed, yet they dies too soon to see their lamp, new flies comes and continues building the lamp, soon the flies now live a long time, they move to different forest, they build and build. One day, the flies realized there are so many lamps, they forgot how to build the first lamp. The perseverance of knowledge. Now, headless flies build headless lamps. Human beings in a mob What’s a mob to a king? What’s a king to a god? What’s a god to a non-believer Who don’t believe in anything? How would a group of non-believers believe in? (Put in their a fly discovered fire)
Environmentalism, climate, resource, death is imminent, natural disasters
On Headless Flies and the Death of Meaning, the death of care
A place for the self-god, time-machine space, of which a practical approach will be conveyed to solve a fictional problem. modernity: the loss of origin. The nonbeliever of time
architecture no longer believes in eternity, can it still make something sacred

Junkspace is the residue that mankind leaves on the planet.” 
The essay begins with Koolhaas defining what he calls ‘Junkspace,’ essentially as a detritus of modern architecture. Spaces that are banal, cause disorientation, lack the functionality and aesthetics of their predecessors, and are a byproduct of globalisation and capitalism; stripped of their identity. 

Junkspace is what remains after modernization has run its course, or, more precisely, what coagulates while modernization is in progress, its fallout

Dealing with the junk, do we want more junk, less junk, more responsible junk, more useable junk? Optimize junk space
How to achieve meaning without making junk
Junkspace cannot be remembered. It is flamboyant yet unmemorable, like a screen saver; its refusal to freeze ensures instant amnesia
Koolhaas appears to both criticize and, perhaps, embrace the same forces—creating structures that he knows will inevitably become part of the very junkspace he condemns
His writing also satirises the situation—highlighting the absurdity of the architectural world while participating in its very production. The irony suggests that he is not just condemning the status quo, but reflecting on the complex, sometimes hypocritical nature of architectural practice in a globalized, media-driven age

Junkspace is now digital, even more junk, what the heck is real. Junk in the meaningless. The ease to create meaningless, as a self-god rebellion to find alternative meaning against the sins of the fathers.

In the anxiety of influence
Strong poets find a way to “digest” their precursors, transforming their influence into something new. Weak poets, by contrast, are only able to imitate or idealize their predecessors.

My concern is only with strong poets, major figures with the persistence to wrestle with their strong precursors, even to the death. Weaker talents idealize; figures of capable imagination appropriate for themselves. But nothing is got for nothing, and self-appropriation involves the immense anxieties of indebtedness, for what strong maker desires the realization that he has failed to create himself?

Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.
The difference between Eliot’s position and Bloom’s might be interpreted as a case of the narcissism of small differences
Platonic idealism vs vicious violence

https://theconversation.com/the-anxiety-of-influence-harold-blooms-not-so-influential-idea-at-50-197902
the struggle for originality

Do we need to kill the precursor, in order to be find meaning, or do we idolize the precursor, and submit, or do we digest the precursors, in a marriage to the union to the precursor?
Fuck, marry, kill

Indeed, in his analysis, what underlies the Western literary tradition is an unbroken chain of anxiety and competition, passed down neurotically from generation to generation.

There is a deep strain of pathos in the tricksy, metafictional coda to The Netanyahus, where Cohen reveals Bloom as the source of the anecdote that supplies the novel with its plot. Bloom’s stories, Cohen recalls, “poured forth in that high-pitched nasal voice of his – a Bronx boy’s dream of a donnish Brit’s accent”. These stories encompassed:
His childhood on the Grand Concourse and first reading the poetry of Moyshe-Leib Halpern and Jacob Glatstein: the fish would come from the market wrapped in newspapers (the Forverts, the Morgen Freiheit), and he’d unwrap it and sometimes the ink would have run and lines of poems would be imprinted on the side of the fish and he’d try to read them; he’d try to read the fish and guess the author, from backwards Yiddish impressed onto wet iridescent scales. He told me about first reading the New Testament in Yiddish.
Is this not Bloom’s own kenosis? Behind the severe, harassing master who extemporises subtle urgent proof that the theory of poetry is the theory of life was the bibliomaniacal Yiddish-speaking boy growing up in the Bronx. For Bloom, the Western Canon, and above all Romantic poetry, were his entrée into an otherwise inhospitable world. He was himself a testament (sometimes despite himself) to America’s multicultural warp and weft.

precision of care surviving the acceleration of creation
Emptying oneself to rebuild, carrying on an imprint
Grounding oneself in an inhospitable world
He was himself a testament (sometimes despite himself) to America’s multicultural warp and weft
The act of “pretending” became a bridge between his origins and his aspirations.
Constructed performance to bridge reality and fiction
act of artifice
Performance meta-architectural fiction
Lost in translation
Beauty in translation

bad: idiosyncratic judgments rather than arguments grounded in rigorous evidence or reflexivity
underlying conceptual rigor is clear
potential trap: privileging what’s already canonical
kenosis

The Long Canon of Architecture, 2600 BCE – 2025 CE\

Mix mix and mix

Heritage politics

Time- layering on one another, stray too far away from the root
Multi planet diversity
One day we forget who we are, where we are
Material history, material tracing

Poverty of imaginative need = empowerment

Don’t give the age what the age demands

All bad poetry is sincere

the worst poetry is often written by people who are utterly honest, earnest, and heartfelt — but lack imagination, craft, and irony.

Bad poetry” is art that mistakes personal feeling for artistic truth

A great artist shapes or masks emotion; a bad poet merely spills it.

aesthetic truth — beauty, structure, irony, and the play of style

True art, by contrast, thrives on artifice, exaggeration, and distance.

“Lying, the telling of beautiful untrue things, is the proper aim of art.

“Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.

“Architecture is the most fragile of the arts… it dies every night.”

Agon is the basis of life
Sin justify Agon

modern egalitarianism
cultural negotiation
Racism of struggle

Inherently racism is the struggle
Of multiculturalism

Unsolvable just move on
Cultural now is art
Now who curates what
art becomes a combinatorial ecology.
Simulation says there is no truth
Struggle to care
Struggle to withdrawal
The return of the tragedy
Eco to infrastructure to how it feels
Design become interpretations
We can only witness it

“We have arrived too late, yet too early.”

It’s partly psychological — a side effect of accelerating perception.
When change becomes visible within a single lifetime, people feel suspended between eras.

our myth of the end coincides with actual closure of systems

These are mechanical, not metaphorical.
They make our sense of “this time being real” empirically grounded —
we feel endings because the systems that sustain us are literally reacting to themselves.

Classical Chaos Order
Modern Decay Progress
Postmodern Meaninglessness Irony
Ecological Collapse Care
Infrastructural Overcomplexity Systems
Planetary (Now) Feedback Reflection

Architecture as witness
The Last Generation to Imagine the End

A convo with Jose and mark
Imbue faith into lived experience

AI driving people suicidial
Philosophical blank slate, impressionism
forgiveness
That’s temporal faith: belief that time will reveal truth.

Kant: Speak the truth always; lying corrupts reason and trust universally
Social cue is lying
Critics say this can become cruel — because it ignores emotional context
Upsetting people unnecessarily is a failure of social virtue, not of truth itself.
weak spirits disguise cowardice as politeness
temporal optimism

Masaharu Takasaki emphasizes that for him architecture is a social art. For his practice, he came up with the name “Monobito Architecture”, where mono is an object, bit is a subject, and Takasaki himself is a builder of connections and contacts.

Manufacturing and heavy manual labor
Construction industry
High incidence of suicide and mental health

The odyssey
My sister ben 10
Will-destiny
Let’s Build a Time Machine
A Practical Approach to a fictional problem

Poster idea: hand written text, aged paper for a week

The nickname “Gotham” for New York City was first used in 1807 by Washington Irving in his periodical Salmagundi. He was using it as a humorous way to describe New York’s culture and politics, comparing the city to an English village in Nottinghamshire famous for its foolish residents.
Architecture split into triad of infrastructure, art for the ego, housing

1717

Let’s build a Time Machine
a practical approach to a fictional problem

The Odyssey, 1717, Luben Dimcheff, Rudolf Steiner, Cai Guo-Qiang, TARDIS, Δt, 12 Angry Men, Carlo Scarpa, harold bloom, piano, Flies & Lanterns, artifice, inconsistency, Lying
Letter to myself

Dear you,

Let’s build a Time Machine,
A practical approach to a fictional problem.

Sincerely,
Mx.

Q

The Odyssey•1717•Luben Dimcheff•Rudolf Steiner•Cai Guo-Qiang•TARDIS•Scarpa•Artifice•

Dear you,

Let’s build a Time Machine,

I’ve always found it absurdly American that Ithaca was named after the hometown of Odysseus—but only as a naming convention.
This thesis threads two parallel worlds: the Odyssey, and your odyssey.
So we might draw some conclusions to an idiotic question: Is Ithaca even real?
It is a question with an apparent ending: Ithaca must be real.
You will make hand drawings, L-A-R-G-E models, and photomontages, toward the construction of a totemic space anchored in Ithaca.
No AI will be used in the making of this thesis.
Respond only with a typewritten letter.

Sincerely,
Mx.

The ending seems apparent, Ithaca must be real.
This thesis is about a practical approach to a fictional problem. When the destination is a necessary fiction, but the journey happens regardless. I will set out Building a Time Machine anchored in Ithaca, a semi parallel to the story of the Odyssey.

Exodus and return
The conclusion seems idiotic

Make it, everything will be alright.

What is progress, when the ending is already known?

What is the journey when you have a destination, what is progress when you know the result,

Yet, that contradiction of a placeholder, has no doubt, manifested itself in time.

Athena’s divine intervention

Odysseus, is the king of Ithaca.
Exodus without return

A practical approach to a fictional problem

No AI will be used in the making of this thesis.
Respond only with a typewritten letter.

supposed to be the one celebrated

in ihe iloiiieric poems a« tht- Kingdom of Ulvf^es

I always found it pretty funny how Ithaca was named after the hometown of the Odysseus.

impossibility of unconditional hospitality
hyper-immunological reaction
Death in diffusive system
Internal genocide

Space outside of Ithaca

Aging the work with no particular style
Prisoners
Access to the past is memory
Access to the future is imagination

Layers narrative
Dense visual

A sustain pedal
Piano
Imagine a story while designing

Totemic space

History care eisenman
Name architect

In 1935, they’re standing in front of the RCA building. There’s a big clock on the building. And Corbus says to Le Jay, The hours will return tomorrow, but this first dial of the second is something cosmic. 
It is time itself, which never returns. This red needle is the material witness of the movement of worlds. Time belongs to architecture.
whether a place can inherit a narrative it never earned
time is the thing you cannot inherit

“The hours will return tomorrow. But the dial with the second hand is something cosmic, it is time itself, which never returns. That red needle is a material evidence of the movement of worlds.”
— Le Corbusier, When the Cathedrals Were White

Dear you,

Let’s build a Time Machine,

I’ve always found it absurd that Ithaca was named after the hometown of Odysseus—but only as a naming convention.
This is early settler’s fundamental belief that we can empower the meaningless in name only, and inherit meaning through the course of time.
To build a Time Machine, you must name it a Time Machine. Hence, the title of the thesis.

The difficult seems to be deciding what that meaning is. But they did decide, without much fun fair, classical naming conventions,
And meanings are inherited
To build a Time Machine, you must name it a Time Machine. Hence, the title of the thesis.
Massive projection of the story of the Odyssey, onto the town of Ithaca.

The belief that a place can inherit a narrative it never earned,

This thesis threads two parallel worlds: the Odyssey, and your odyssey.
So we might draw some conclusions to an idiotic question: Is Ithaca even real?
It is a question with an apparent ending: Ithaca must be real.
You will make hand drawings, L-A-R-G-E models, and photomontages, toward the construction of a totemic space anchored in Ithaca.
No AI will be used in the making of this thesis.
Respond only with a typewritten letter.

Sincerely,
Mx.

As far back as I can remember, I always wanted to build a Time Machine.

I will make use of hand drawings, Large models, and photomontages, toward the construction of a totemic space anchored in Ithaca.

Let’s build a Time Machine.

Sincerely,
Ryan Wang.

As far back as I can remember, I always wanted to build a Time Machine.
[cue music]
It’s absurdly American that Ithaca was named after the hometown of Odysseus—but only as a naming convention.
Yet that couldn’t be further from the truth.
This is an idiotic question with an apparent answer: Is Ithaca even real?…. Ithaca must be real.
This thesis is about a practical approach to a fictional problem.
I will conduct a synchronous projection of the story of the Odyssey, onto the town of Ithaca, NY.
I will make hand drawings, L-A-R-G-E models, and photomontages, toward the construction of a totemic Time Machine anchored in Ithaca.

No AI will be used in the making of this thesis.
Respond only with a typewritten letter.

“The hours will return tomorrow. But the dial with the second hand is something cosmic, it is time itself, which never returns. That red needle is a material evidence of the movement of worlds.” — Le Corbusier, When the Cathedrals Were White

https://www.fritzhorstman.com/statement

Tsunami
1 min Tsunami Coming
1 min Washington state
1 min Solution Towers

Architecture has always lived in an awkward middle ground — neither pure art nor pure science. At moments we feel like artists, or like surgeons performing delicate operations on the built environment, but these identities were never stable. The younger generation inherits an even more fluid sense of what an architect is, partly because we’ve grown up under a permanent sense of impending collapse. That anxiety isn’t metaphysical — it’s a deadline effect. Mid-century institutions predicted environmental thresholds around 2050, and for decades that date functioned like a bureaucratic countdown clock. It created the illusion that history had a fixed expiration date.

Now that we are actually nearing that horizon, the contradiction is clearer: the deadline was arbitrary, but the stress it produced was real. The world won’t “end,” it will simply continue in degraded, uneven, unpredictable ways. Humans will adapt, as they always have. What we’re living through isn’t apocalypse; it’s deadline culture — a society trained to sprint from one existential marker to another.

Architecture today is produced inside this pressure chamber, where every project feels like it must justify its existence against the clock. The task isn’t to become an artist or a brain surgeon; it’s to design in an age where time itself has become the dominant material condition.

Mutation
Change is always difficult

Overly productive
Hustle culture
Elon running 10 companies

everything looks provisionary, reversible, ready to evacuate.

A deadline makes daily life meaningless
Actions urgent
But you need it

In deadline culture, leisure must justify itself.
When architecture needs justification, its loses meaning
Because we try to find meaning
Because deadlines

Architecture loses meaning when justification precedes design.
Architecture gains meaning when justification emerges from design.

The crisis is that architecture now lives inside a culture where justification comes before experience — before time itself.

You’re putting the making first, the meaning second.

Pier Vittorio Aureli
• Calls this the “culture of efficiency, scarcity, and responsibility”

Tech people just make shit first
Uncertainty
Faith

A society terrified of death often dies from the consequences of its own hesitation.

Young people confuse leisure with “side hustles” because the future no longer feels long enough to waste.

The crisis isn’t ecological or disciplinary — it’s temporal.
Architecture today is produced by people who no longer know how much future they have, and so they stretch and compress time through identity, practice, narrative, and design.

Approaches fixes the problem

Crazy section

Architecture of lies

Architecture riding on the form of the past,
Juicing out what they have to serve lies
But a performance
Architecture of fear, lies

Acceptance of deceit as inherent
Beauty in the lies
Beautiful lies

Awareness of beautiful lies
Awareness is passion
Not in the argument of lies, the beauty of lies
Not to do nothing
Lies gets people far, and beautiful lies is more enriching than ugly lies

Time Machine
Beautiful lie
Lies are necessary fictions
Some time it’s not needed
Beautiful performance
Architecture of meaning and arts

Commerce office housing culture
I don’t deal with the other three
Because I think other people can do a much better job
I deal with the culture
Capital A high architecture

Beautiful lie
Storytelling of today

Small lie to big lie
Let’s build a beautiful lie

orchestrating living, adaptive, intelligent ecologies
Architecture as time-making
Lucy chair
Viewfinder
A black cloth
Composition framing
Incorporate fashion in
My chair that did not work

Maximalism of information