Before starting to develop the first letter (what just means the first letter that is going to be produced not having in any case the role of a beginning), it is necessary to explain what are these letters to the project, why they are what they are and how they are going to be made and how they can be read. This is one thing and the same than to explain the structure of the project.
- The letters draw the project. The subject of the encoded narration is the space. The descriptions, details and cluster of references that accompany the plot are related to the space
- The letters do not follow a linear development, its order is partially left on the particular understanding of the reader of the project. The reader, as the fictitious prisoner, has to decode the space through the letters. In this metaphor the reader is a prisoner of cultural conventions, who is challenged to free the chains of linear thinking to grasp the ambiguous whole.
- The letters are a text in images that corresponds to a text of words. It manifests a reaction against the dominance of visual image and written language in western architecture, questioning the neutrality of both, image and text as a proper correspondence of the act of see and the act of speak.
- The letters, are like “ruins”, in terms of Jennifer Bloomer for whom ruin “represents a construction in which temporality is a sluggish or slothful (lazy) operator, becoming, anachronized, petrified, and thereby legible as spatiality”
- The letters question the conventional method of architecture thinking and the project is presented as a critical analysis that is made of questions rather than hypothesis. This abandon of time to present a project as spatial is a response against the blind faith in the scientific-method,the proof versus the hypothesis, the linear thinking.
-The letters are made of different fragments. This fragments are an effect caused by the collision between the narration and the space .The assemblage of fragments forces an abandonment of the idea of the reader as a passive receptor.
- As a collage, the heterogeneous fragments of the collage occupy two different positions. One is the position that the fragment occupies in connection with its original context and the other is the position related to its role as a part of a new whole. This way the collage, the fragmented whole, oscillates between presence and absence and therefore it does not allow a linear and unique reading of the whole.
- As a puzzle, the logic of assembly of the reader recreates the space. A new reading supposes a new logic of assembly and therefore a different spatial construction. As Perec shows in “Life: a user's manual” the process that a puzzle-maker starts never comes to an end. The logic of the puzzle-maker is confronted in a different way for each new assemblage of the pieces.
- In the project both, the different assemblages of pieces of each letter, as well as, the different assemblage between letters, bring about different narratives that again can suggest new interpretation of the parts and the whole, enclosing a cycle.
-The space, in its original configuration, is de-constructed, fragmented and violated, converted in shreds that form a pile of pieces, a row material that the structure of the narrative gathers by means of allegorical interpretation, transformation and translation. A space to be recreated dynamically with each new reading, with each new assemblage.
- The letters have different writers, painters, film makers, architects, musicians and photographers. They all departure from the text and are interpreted by means of the idiosyncrasy and technique of their work.
- The secrecy of the letters, the essence of the narrative, entails the choice of a method that can encode the text into images allowing after a decode of the images into the text. For, in this process of creating text in images that corresponds to a text of words, the methodology cannot be based on a relationship between signifier and signified, it is not a translation that can be achieved directly because the dynamic shift of sensations, feeling, aspirations and fears that are reflected into the space are ambiguous and the correspondence has to be mediated.
- The methodology focuses on such conductors that can express simultaneously these uncertainties from the text to the image and vice-versa, a hermaphrodite condition that merges text and space. According to this condition the project looks for symbolic and allegoric conductors. The symbolism of drawings and images, the emblems that mix letters and images, the mnemonic of places, objects and lyrics, and the allegory (which complexity and importance in this project will be expose in another post).
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