WHAT FIRST STRUCK ME ABOUT BERLIN WAS THE UNDENIABLE VITALITY OF EXPRESSION THAT EXISTS IN ALMOST EVERY POCKET OF
THE CITY.
IT FELT MORE INTERESTED IN HOW MY IDENTITY CONTRIBUTED TO THE
AMORPHIC NATURE OF THE CULTURE RATHER THAN THE LINES ALONG
WHICH THE TWO WERE CONSISTENT.
I FOUND THAT THE CONTEMPORARY BERLINER IS NOT FROM BERLIN.
PORTUGAL, SPAIN, SLOVAKIA, CANADA, BAVARIA, TURKEY, HUNGARY.
I MET SOMEONE FROM EVERYWHERE.
THE UMBRELLA UNDER WHICH WE ALL STOOD WAS THE DECISION TO
COME TO THIS CITY.
DIFFERENCE IS CELEBRATED
NOVELTY IS BEAUTY
CONTINUOUSLY BORROWING, ADOPTING, REAPPROPRIATING
ALWAYS GREATER THAN THE SUM OF ITS PARTS.
URBANISM AND THE BUILT ENVIRONMENT ARE THE BACKDROP
AGAINST WHICH THIS SOCIAL THEATER IS PROJECTED.
THE SPACES WITHIN THE CITY ARE DETAILED BY NARRATIVES OF
PERPETUAL REAPPROPRIATION AND NECESSITY,
A SINGLE ENTITY COMPOSED OF MULTIPLICITY AND MEANING.
WHERE NOT THE CATHEDRAL, BUT THE EMPTY FACTORY IS SACRED.
RUINS DON’T BELONG TO MUSEUMS IN ROME BUT TO THE SKATERS
AND THE ARTISTS AND THE TECHNO-JUNKIES WHO CLAIM THEM.
THE ARCHITECT IS THE GOD OF THE CONTEMPORARY CITY,
BUT NOT THE ALMIGHTY PUPPETMASTER PULLING THE STRINGS AND
MAKING THE WORLD DANCE,
RATHER THE PARENT WHO WATCHES SILENTLY AS THEIR CHILD
LEARNS CURSE WORDS ON THE SWING SET.
Architecture student.
Seldom punctual.
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