l'enfer, c'est les autres – part deux

There is a manner in which the whole project might be read as a particularly fuzzy French attempt at Guliani's "broken-window" policy, combined with aforementioned basketball league. Give the rambunctious young'uns someplace else to break the windows and commit the vandalism of "tagging" (a vaguely protected piece of urban cultural production since Jack Lang in the 1980s) - and wouldn't it be an interesting twist if this box that apparently no one wants/uses became a contested territory between rival groups. But it also seems to reduce the problem of juvenile delinquency to an issue of place; and “place” has been an issue among the French for sometime, committed as they are to the construction of what Pierre Nora has called “sites of memory.” Though there is also the wary speculation of Michel Foucault who, in his Discipline and Punish, offered the “Panopticon.” A “site” which should not be “understood as a dream building: it is the diagram of a mechanism of power reduced to its ideal form . . . polyvalent in its applications; it serves to reform prisoners, but also treat patients, to instruct schoolchildren, to confine the insane to supervise workers, to put beggars and idlers to work. It is a type of location of bodies in space, of distribution of individuals in relation to one another, of hierarchical organization, of disposition of centres and channels of power, of definition of the instruments and modes of intervention of power, which can be implemented in hospitals, workshops, schools, prisons.”

The question now becomes what the “distribution of individuals in relation to one another,” means when the space allotted is not really a space at all but the recreation of an entry-way – when the passage from the external world to the ostensibly internal becomes an end in itself? Mies van der Rohe once declared that the role of the architect and modern architecture was to “express the will of the epoch . . . For the meaning and justification of each epoch, even the new one, lie only in providing the conditions under which the spirit can exist.” What “will” is being expressed and whose “spirit can exist” in an architectural equivalent of purgatory? Considering all this, it is only the most fortuitous expression of ironic convenience that the “faux hall” is made of a shipping container – somehow it doesn’t seem as if its economic role in the transport of things away and out of sight has changed all that much, it has only become a social one.

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