When the police want to identify the culprit in a crime, they bring all the suspects together and make a ‘line-up’ of them. Witnesses to the crime are then asked to look at the suspects–who are put under bright lights—from a darkened vantage point, so they can make their identification of the criminal anonymously. The suspects, however, must suffer the humiliation of being publicly displayed ‘in bad company.’ Such is the ignominy of fame or, as it were, infamy, because a crime, a violation of laws, is the reason for the line-up to exist.
It is not without interest that most of the suspects in the line-up are innocent of any crime, not to mention the particular crime in question. They are suspicious simply because they happen to resemble, more or less, a given description of the criminal, or were simply at the wrong place at the wrong time. Sometimes, an innocent person in the line-up is wrongly identified by the witnesses. Sometimes, the real criminal. It all depends on the perceptiveness, and the honesty, of the witnesses. The suspects are at their mercy.
And now we come to architecture.
Have crimes been committed, crimes against humanity? Have architects broken the rules, violated the laws of common decency, of responsibility for the welfare of others, purely for their own gain and gratification? Or, is there, in the personal aesthetics of architects, a personal ethics that sets an example for the common good?
Interestingly, a line-up has been assembled on a rooftop in Reggio Calabria, Italy, in the form of a Biennale of Architecture and Art of the Mediterranean (BaaM), that will open in December of this year. Many of the usual suspects will be in it, and will be exposed in their capsule projects to the bright lights of public display. The witnesses will come, from the Mediterranean, from Europe and other parts of the world, and are obliged, by their presence, to judge for themselves.
Excerpt from the BaaM program:
Visitors to the exhibition can walk its entire length through the interiors of the double-sided individual constructions:
A closer look at the structure, EARTHWAVE, 6m x 6m x 2.8m, by LW and Christoph a. Kumpusch, with Adam Orlinski. Wood model of Primary Structure:
Wood model of Primary and Secondary Structures: