1 COUNTERFEITING THE LIBIDO

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Yet, as theorists of de-colonialism, Homi Bhabha and Edward
Said have shown, counterfeiting has also historically
served the colonial discourse which justifies the
dispossession and subjugation of so-called "non-Western"
peoples; for the representation of reality endorsed by
counterfeiting is, after all, the representation of reality
endorsed by Eurocentricity. In this context, the imitative
operations of Counterfeiting only can be seen to have
stabilised (or attempted to) a falsely essentialist view
of the world which negates and suppresses alternative views
and endanger the Western perceiver's privileged position
(Adam and Tiffin).
Needless to say, the appropriate instrument for such
tectonic counterfeiting in a colonized landscape is
architecture.
At the peak of European colonization of the Indian subcon-
tinent and the East Indies Archipelago, European Classicism
was imported to be the appropriate architecture to manifest
Christianity. Hence, London's Church of St. Martin-in-the-
Fields was used as an inexhaustible prototype for churches
in the archipelago.
Later, propelled by the teaching and writings of Pugin,
Gothic architecture was seen as "Christian architecture"
in preference to "pagan" classicism. Churches in the
archipelago followed suit with a host of Gothic revival
churches (Adam and Tiffin).

9 COUNTERFEITING THE LIBIDO

13
14
Colonial architects imported Mughal
architecture from India to be used in mosques
in the Malay Peninsula, Singapore and Java
assuming the role as the orthodox architecture
for Islam. Thus, the Sultan Mosque in Singapore
among other building types in the archipelago
was built with domes and minarets (Liu).
Therefore, (re)production in architecture is
no more than a matter of counterfeiting, a
simulacrum, a special art of rhetorical
difficulty - in Borges' term, "pseudo problem"
(qtd. in Connah) which defines culture as "an
object of deliberate fabrication" (Pallasmas)
- incongruent to the form, function and meaning
of prevailing cultural conditions.

The (re)production of
architecture is emphatically
pursued for ends engrossed in
an "atmosphere of certain
untruth" (Pallasmas) and
becomes the by-product of
"authority',' forfeiting the
expres¬sion of the intrinsic.
The French historian, Paul
Haz¬ard has concisely
expressed, "... our
eighteenth-century ancestors
would not have believed that
eve¬rything that was clear was
neces¬sarily true. On the
contrary they would have looked
on clarity as a defect rather
than a virtue in the

3 COUNTERFEITING THE LIBIDO

matter of human reason. If an idea is clear, it
means that it is finished, rounded off, over and
done with. They would have given pride of place
in the hierarchy of faculties, not to reason,
but to the imagination" (Hazard).
The Italian Vico reminds us from the 1700's,
" Men who do not know what is true of things take
care to hold fast to what is certain, so that,
if they cannot satisfy their intellects with
knowledge (scienza), their wills at least may
rest on consciousness (coscienza)... philology
observes that of which human choice is the
author, whence comes consciousness of the
certain" (Fisch and Max).
As a result of his pursuit of certainty in
architecture production at the expense of being
true to his land, there is a loss of intimacy
as Martin Heidegger's suggests the "loss of
nearness" between him and his architecture
"reveals the deep psychic uncertainty of the
colonial relation itself; its split
representations stage that division of 'body'
and 'soul' which enacts the artifice of
identity; a division which cuts across the
fragile skin - black and white - of individual
and social authority" (Pallasmas).
"Counterfeiting of the Libido" therefore,
entails the condition of reciprocal mimesis at
different levels at opposing ends of the
coloniser as well as the colonised.
Counterfeiting becomes the ultimate agent for
referencing, standing and achievement at the
expense of losing origins, history and context.
Rapid industrialisation and acquisition of
high technology become tools of that agent in
the making of a new and accelerated history:
hyper history.
However, in the Theatre of Decolonisation (Thompson), the
drama takes on a phenomenological turn: to reveal the par-
adox of the colonial condition and engage the man of the
archipelago in a crisis of architectural production.
Perhaps, he wonders, decolonisation can signify the
momentary postponement of history and reinstall another
beginning of "tradition"?

Fanon suggests that decolonisation could "expose an utterly

naked declivity where an authentic upheaval can be born.
It was no longer a question of being aware of his body in
the third person but in a triple person. He was responsible
for his body, for his race, for his ancestors. Why not the
quite simple attempt to touch the other, to feel the other,
to explain the other to him? Maybe, there is a need for him
to let the world recognise, with him, the open door of
different levels of consciousness" (Bhabha) including a
"geometry of the unconscious" upon which new architecture
can be realised i ii >t only based upon accepted norms of
modernity but also v: ii uint inputs from his own cultural
context and origin.
But decolonisation of the colonies born out of the East
India Company who matured into nationhood in this "century
of the pacific" sees them maintaining status quo. Despite
creating a big, dynamic economy, the man of the archipelago
still leans on the Other for cultural legitimacy. He is
misdirected into a mode of referencing presumed to be the
global constant of material wealth and its possessions; the
benchmarks of achievement are the constructed ideals of
others. He then becomes the construct of others; a libidinal
counterfeit.
With declining colonial influence and rise of independence,
the next phase of libidinal tendency seemed intent on break-
ing away from the colonial relations and launch a
wholesale-driven brave new world of industrialisation,
exploiting established status rather than re-questioning
the status quo. Much to his reluctance, he still owes
allegiance to an invisible colonial apparatus, the rules
and laws that may be detrimental to the development of his
cultural consciousness and landscape.

7 COUNTERFEITING THE LIBIDO

To this, Jun'ichiroTanizaki portrays,

"I always think how different everything would be

if we in the Orient had developed our own physics
and chemistry: would not the techniques and
industries based on them have taken a different
form, would not our myriads of everyday gadgets,
our medicines, the products of our industrial art
[architecture] - would they not have suited our
national temper better than they do?" (Tanizaki).
This invisible ideal versus the original as
imported is perhaps more than an "aesthetising"
agent but an instrument which undermines the very
core of the architecture discourse and has the
ability to operate in different layers of • my
"adoptive system'.'
12 COUNTERFEITING THE LIBIDO
Despite his commitment to forego this "adoptive
system',' he has resubmitted himself to a new form
of colonisation - this time by theories and
prescriptions derived from the apprehension of the
"other" world and their history, social neuroses and
value systems. The terms "third world" and
"developing nations" are notions of the Other which
the archipelago man imposes upon himself as
guidelines towards modernity.
Jean Baudrillard diagnoses this as "a characteristic
mode of civilization, which opposes itself to
tradition, that is to say, to all other anterior or
traditional cultures: confronting the geographic and
symbolic diversity of the latter, modernity imposes
itself throughout the world as a homogeneous unity,
irradiating from the Occident" (Baudrillard,
Modernity).
In other words, he exploits this "legitimacy" and
inflicts upon himself a "dogma" that has little or
no relevance to his current situated meaning and the
meaning of his situation in his architecture
production, promulgating another wave of alien
imposition on a scale that threatens to spread across
the archipelago.
Perhaps one of the greatest ironies of this
decolonisation is the wholesale application of two
dimension plan-based city planning and solid block
housing estates whose origins include "the
extermination camp and was a product of

industrialisation, denoting a combination of

thought patterns, social organisation and
technical tools" (Christie). It is in this
shadow that he subscribes himself to the
extermination of his libido in the production of
architecture.
If one sails into the archipelago of the East
Indies of today, one would see the skylines of
its tropical cities belonging to any other
"developed" metropolis. Rather than learning
the methods and processes of the fervent
modernity so revolutionary in nineteenth
century Europe, he simply appropriates its end
products and turns them into a catalogue of
stylistic features for his cities: straight
lines, flat roofs, pilotis, etc. But was not his
mission to decolonise supposed to have for-
mulated rules that break rules? And must not
there be more than seven ways of being modern?

14 COUNTERFEITING THE LIBIDO

Such architecture of the Tropical city which
does not resuscitate from the ground up but
through a self-imposition, contributes little
to the dialectics between global and local
architecture positions, the loss of which have
shifted him to a "marginalised zone" in
architecture discourse. But true decolonisation
in architecture points towards a re-questioning
of modern architecture as mutant forms of power
structures, its reactions and
self-interrogation. Therefore, maintaining
status quo in such production has deprived him
of an authentic and original position. In such
architecture programme, the creation of an
uncertain truth is forever forfeited.
Such adoption, compounded with the politics of
architecture, inevitably means re-production
and re-presentation of the legitimate, leading
towards an "end of the idea" (Becker) in
architecture. As Roland Barthes would say, "If
there is no longer a Father, why tell stories?
Isn't storytelling always a way of searching for
one's origin?" (Barthes)
16 COUNTERFEITING THE LIBIDO
26 COUNTERFEITING THE IIBIDO
 —m

Without the stories, it has become an

engineered city of construction, consumption
and productivity: exuding machinery professing
its global position with an optimistic
supposition about its human condition and
prides itself as an instrument for economic
productivity. The cultural consequence is
cognitive dissonance and his libido is
questioned once more.
Therefore, it can be argued that this type of
prescriptive, unquestioning modern
architecture with its unmediated application
of universal and instrumental technology and
production has created abstract, sterile,
semantically mute and alienating environments
devoid of cultural values, poetic qualities
which neutralise particularity and difference
(Robins). As Jurgen Habermas said, "modern is
dominant but dead" (Habermas).
However, the search for possible exits from
exclusivist, reductionist strategies of
modernism will result in a similarly .
ilienating and empty rhetoric as portrayed by
commercially- oriented, postmodern
architecture - the nostalgic appropriation of
picturesque relics.

27
With this reaction and a new obsession with history,
selective appropriation of the past becomes
consistent with what these cities would like to be
and not who they are. These pretensions are blatant
in the current postmodern stance: obsessive
projection into the future by creating a past for
it. There is no doubt that their identity, and
creative well- being, cannot be supported by a
universally standardised and abstract environment.
However, as Pallasmas observes earlier, "modernity
can function as a dialectic view of culture that
perpetually challenges and resurrects the past"
(Pallasmas). The notion of the third person must be
forever dispelled and replaced by the triple person
who can embrace the Other culture with his own
origins, creatively.
However, this should not be a literal unearthing of
the bones as there is a danger in misinterpreting
"return" and turning it into sentimental
provincialism where the past is taken as a source
for selection instead of being the continuum and
context of creative work.
This tendency of selecting the past for the future
continues today in the guise of a post-modern,
pseudo critical apparatus which had come to the
archipelago as a product of the Other, of different
positions and circumstances.
If one travels across the archipelago, one would
witness all types of vernacular motifs plastered
onto new buildings in the name of history, tradition
and context regardless of their function, space and
form. These symbols which carry neither story, myth,
nor history speak of neither time nor place and amount
to only an adornment of decoration in a variety of
styles, some of which try to respond to the different
cultures of the people, but risk being "sentimental
scenography - a naively shallow architectural
souvenir" (Pallasmas).

28 COUNTERFEITING THE LIBIDO

 I* *

29 COUNTERFEITING THE LIBIDO

 I* *
This manipulation of signs and their imposition on
buildings (Baudrillard, Revenge) connotes a logic
of consumption. Xavier de Ventos illustrates this
scenario when he stated, "correlative to the
production of 'images', consumption is being
increasingly transformed into the consumption of
symbols: into semio-phagics (symbol eating)"
(Xavier). This is a result of the desire to imitate
a trend from the Other and assimilate its world.
Juxtaposed with semio-phagics, there is also the
question of emotional pleasures from consumption
such as dreams and desires celebrated in consumer
cultural imagery which vigorously generate direct
bodily excitement and aesthetic pleasures - a
libidinal tendency.
Such are the phenomena expressed throughout his
newly decolonised archipelago, reducing
architectural production to simply a consumptive
process much akin to the development of a theme park
at best and at worst, a "theme-less" theme park
where the latest shopping malls are the ultimate
spatial ecstasy and museums are reduced and
resigned to inhibit recycled colonial buildings
providing fantasies of the past, albeit a recycled
one.
30 COUNTERFEITING THE LIBIDO
So this is how his (post)modern architecture can be
understood, despite almost a century of
experimentation, or maybe because of such
experimentation. It neither justifies the whole
process of modernisation through representation,
nor resists such processes, but rather is an
activity promoting consumption and becomes only
objects of the economy, society and politics.
But the subject of the "uncertain truth" in
architecture requires that modernity and tradition
have to be constituted and reconstituted everyday,
everywhere and involves everyone, necessitating a
synthesis of cultural considerations in which the
production of new materiality and new consciousness
coincide. This re-constituted architecture should
not be subsumed by the tyranny of commodity. Like
all other creative practices, it should always
strive to be critical of its own actions and to avoid
the traps of stasis and subservience.

31
 Paul Ricoeur illustrates,
"Whence the paradox: on the one hand, it has to root
itself in the soil of its past, forge a national
spirit, and unfurl this spiritual and cultural
revindication before the colonialist's personal-
ity. But in order to take part in the modern
civilisation, it is necessary at the same time to
take part in scientific, technical and political
rationality, something which very often requires
the pure and simple abandonment of a whole cultural
past. It is a fact that every culture cannot sustain
and absorb the shock of modern civilisation: how to
become modern and to return to the sources"
(Ricoeur).
However, in a decolonised landscape, "reciprocal
counterfeiting" (Lausberg) in architectural
production is not curtailed but is instead, a
proliferation.This assimilation of the East-West
simulacrum that we see all over the Archipelago is
simply an architectural diplomacy which satisfies
neither. There is an atmosphere of circumlocution
in the architecture production where every building
is a matter of appropriation, or at worst,
32 COUNTERFEITING THE LIBIDO

misappropriation.
The danger here is the emergence of Marcuse's paradigm
of the "one-dimensional man" in which, "both Marx and
Freud are obsolete: not only of class and social struggles
but also psychological conflicts and contradictions have
been abolished by the state of 'tribal administration'.
As a result, the masses have no egos, no ids with souls
devoid of inner tension or dynamism" (Berman). His
consciousness does not belong to him but rather it belongs
to his "tribal" presence. As Marx would say, "It is not
the consciousness of men that determines their existence,
but their social existence that determines their
consciousness" (Marx).
Hence, with "tribal administration',' the tropical
city has become narcissistic; vain, precious,
preening in the mirror-like pond that reflects its
beautiful self but hides its shallow reality (Mills)
of shopping malls, theme parks and tourist sites where
consumption and leisure are meant to be constructed
as experiences. They want to be real flaneurs able to
roam the streets and to see a city bursting with
variety, to touch 'tradition' in the city's older
quarters and to feel their 'roots'. With all its good
intention, it has become a no-place-space in which the
traditional sense of culture is decontextualised,
simulated, duplicated and continually restyled"
(Robins) to fit the economy more than people.

The recent new wave of cyber architecture is by far

the most revealing of all invisible neo-colonial
intrusions. With the prospect of hyper history, they
are now increasingly capable and willing to eliminate
any uncertainty in history, which has systematically
excluded spontaneity where wonders of discoveries and
surprises are essential to human creativity.

Consequently, the crisis of architectural

(re)production and of the whole environment is
symptomatic of the way neo-colonial apparatus
operates: reproduce its progress everywhere and
maintain the status quo of its power relations to
derive value systems.This mode of "production" and
operation not only trivialises but also robs people
of a reflective and critical self-awareness despite
the "ecstasy of communication" (Baudrillard,
Ecstasy)

35
In Steven Holl's essay, Locus Soulless he highlights
the rise in global communication, the effects created
by the connection of all places and cultures that
suppress the uprising of local cultures and expres-
sions of place. This undirected expansion of
(communication) technology eventually leads to
soullessness and oblivion to location and individual
(Holl, Locus).
At the end of this discourse, is there a beginning
for a new ideology that is not a stylistic mani-
festation for cultural continuity and production,
but a testament of the different states of mental
consciousness present in a decolonised landscape?
Perhaps, cities in the archipelago could nurture an
ability to accumulate and transform
multidisciplinary architectural values rather than
a complete replacement with their own traditional
architecture. They may consider accepting cultural
variance and resist homogenising the landscape.
One could look at architectural production as a
dynamic process, rather than a given inheritance or
set of a priori closed monoliths. It may be a constant
metamorphosis which asserts value-judg- ment. By
such process it may become evolutionary by shifting

28 COUNTERFEITING THE LIBIDO

itself into a new equilibrium, mediating between a
past and a present, ensuring a continuity of past
rites and rituals and characterised by a particular
place or space. Perhaps, its final emphasis on such
production may be the evanescence and
insubstantiality of all things modern (Bognar).
This creative process may not be singular but
multiple, shifting, self-contradictory and
heterogeneous (Wall). As noted earlier, we have to
dispel the notion of the third person in our colonial
relations and accept the idea of the triple person,
with which one can germinate origins, traditions and
include the Other to create our own version of
modernity: an uncertain truth in architecture, of
which the past is fermented with the present to
produce a presence for the future.
Furthermore, one has to recognise the endless series
of interpenetration (Wall) in one's development of
an aesthetic culture in architectural production,
without losing sight at the temptation to
dissolution into another culture.

37
Although mimetic tendencies in design will
always be part of us, one ought to further
explore, dissect, transform and produce
realities through a process of fermentations
to create deeper meaning in architecture to
"make us experience its existence with deeper
significance and purpose" (Pallasmas). The
task of architecture is not just to beautify
or humanise the world of everyday facts, but
to open up views into other dimensions of
consciousness, the reality of images,
memories and dreams.
The new city may become the common ground of
mediation between the man on the street and a
new consciousness of space and place where
architecture can contribute. It may support
social, cultural integration, using space to
activate subconscious synergy with a sense of
time and place.

The city itself may also be redefined with the

advent of the "third grid" (Robins) where
horizontal and vertical grids used to describe
and design cities should now be extended into
dimensions of communication and information
networks beyond the boundaries of their
shores. 40 COUNTERFEITING THE LIBIDO
The debate on homogenisation by information
accessibility, as problematised by Steven Holl,
will remain.The question is how one can use this
third grid selectively to explore venues for a more
heterogeneous urban landscape. At last, could one
begin to perceive oneself as a visionary architect
of a decolonised archipelago? Engaged with the
contextual and existential so that memorable
architecture may be realised? Could one extend
beyond conventional and popular appeal,
conceptually and perceptually construct the ideal
society by natural consequence? Could one propose
experiments in search of new (dis)orders or
relationships? Could any study be transposed
beyond a system or method, or could the energy
inherent in the development of new relationships
present them with a continuity of ordering that
inspires reflection (Holl, Edge)?

The final discourse may be this:

Can the man of the archipelago finally become

himself when the artificial pursuit for "history"
ends and incremental induction of "creation"
begin? And within this context, can he produce
pieces of architecture that may evoke sense of
self, time and space?
After all, hasn't it always been a tradition for
one to be concerned with the problems of
contemporaneous society and quest for
authenticity, immediacy and relevance (Mahapatra)
in existence?

41
Concepts, just like percepts, are ambiguous and
dependent on background. Moreover, the content of
a concept is determined also by the way in which
it is related to perception. Yet how can this way
be discovered without circularity? Perceptions
must be identified, and the identifying mechanism
will contain some of the very same elements which
govern the use of the concept to be investigated.
We never penetrate this concept completely, for we
always use part of it in the attempt to find its
constituents. There is only one way to get out of
this circle, and it consists in using an external
measure of comparison, including new ways of
relating concepts and percepts. Removed from the
domain of natural discourse and from all those
principles, habits, and attitudes which
constitute its form of life, such an external
measure will look strange indeed. This, however,
is not an argument against its use. On the
contrary, such an impression of strangeness
reveals the natural interpretations at work, and
it is a first step towards their discovery.
(Feyerabend)
THE TRINITY OF CREATION:
SEEING, DOING AND THINKING

As noted by Feyerabend, the exploration of forms in

the formation of new design thinking necessitates
a collision of ideas, be they in the form of analogy,
metaphor or allegory. It is this dialectical and
poetic urge to fulfill cultural functioning with
self that may give birth to the new. This process
is based upon the methods of objective creativity
(see, do, think - operating ad infinitum in a spiral
process) as opposed to subjective creativity
(thinking only).

Objective creativity is about making new things

happen with appropriate methods and technologies,
not just having brilliant ideas. As Feyerabend
says,

"It is not a gradual approach to the truth. It is

rather an increasing ocean of mutually incompatible
(and perhaps even incommensurable) alternatives,
each single theory, each fairy tale, each myth that
is part of the collection forcing the others into
greater articulation and all of them contributing
via this process of competition, to the development
of our consciousness" (Feyerabend).
SO THE TRINITY OF CREATION
To excavate through the layers of our psychic
entities, whether from Singapore or Shanghai, and
attempt at creating a Platonic theory of Forms from
the ground up,

it is not enough to appeal to descriptions which

emphasise the particular character, irreducible
to the naturalistic categories, o f certain
objects. It is necessary to dig deeper, down to the
very meaning of the notion of being, and to show
that t he origin of all beings, including that of
nature, is determined by the intrinsic meaning of
consciousness. The very fact of lining, of being
there is not an empty and uniform characteristic,
superimposed on essences which alone would have
the privilege of being able to differ from one
47

another. To exist does not mean the same thing in

every region" (Levinas).
48 THE TRINITY..OF CRE''/TttetK
Granted there is no definitive formula in creating
a design direction of a particular culture, there
ought to lie deep within society's functioning an
awareness of the collective desire to write its own
design history as opposed to appropriation of the
Other.
However, during the course of exploration in these
works, the elements of five "M"s seem to surface
more than once and the works, in whatever form they
may have resulted, took on the process of Mimesis,
Method, Metamorphosis, Mystique, Metaphysic
(these words are both self-explanatory as well as
having connotations beyond the scope of this
volume) and theirThree Sites of Creativity.
These four notions (signification, originality,
unity and crea- uon) have, in a fairly general way,
dominated the traditional i ii'itory of ideas; by
general agreement one sought the point >1< leation,
the unity of a work, of a period or a theme, one
I - «I 'd also for the mark of individual originality
and the infi- niln wealth of hidden meanings"
49

(Foucault).
SO THE TRINITY OF CREATION
SITE ONE: THE FIELD OF
DECOMPOSITIONS
In the realm of infinite
presence of being, one's
instinctual functioning
dictates the multiple
plougfiing of positions,
histories, knowledge and
conditionings. Strata of
consciousness are to be
pierced, crashed and turned
over in readiness for the
dynamic ovulation of new
paragons. It is this field
of heavy sedimentation of
deductive thoughts; this
tautological meddling with
things past; this dilution
of sentiments,
incarcerating a culture of diffused intellect and
a phenomenon of dusty in-substantiality; this field
of Diogenean elements with their immutable state of
operation and conditioned detachment of Being and
Work; it is this soil of concretised intellects and
instincts that one is to proceed the process of
decomposition.
"The ideas (of Copernicus, Galileo and others)
survived and they can now be said to be in agreement
with reason. They survived because prejudice,
passion, conceit, errors, sheer pig- headedness, in
short because all the elements that characterise the
context of discovery, opposed the dictates of reason
and because these irrational elements were
permitted to have their way. To express it
differently: Copernican and other 'rational' views
exist today only because reason was overruled at
some time in their past. The opposite is also true:
witchcraft and other 'irrational' views have ceased
to be influential only because reason was overruled
at some time in their past.

SO THE TRINITY OF CREATION

Therefore, the first step in our criticism of
customary concepts and customary reactions is to step
outside the circle and either to invent a new
conceptual system, for example, a new theory, that
clashes with the most established observational
results and confounds the most plausible theoretical
principles, or to import such a system from outside
science (architecture?), from religion, from
mythology" (Feyerabend).

"Fools of all kinds, who decree foreclosure of the

text and its pleasure, either by cultural conformism
or by intransigent rationalism (suspecting a
'mystique' of Literature) or by political morals or
by criticism of the signifier or by stupid pragmatism
or by snide vacuity or by destruction of the
discourse, loss of verbal desire. Such a society would
have no site, could function only in total atrophia"
(Barthes).
SO THE TRINITY OF CREATION
SO THE TRINITY OF CREATION
SITE TWO:
CONCOCTION OF POSITIONS AND SUBJECTIVITIES
The compounds of positions and subjec-
tivities are deployed strategically
upon the field of decompositions. At
precise moments of interactions,
delimitations, separations,
agglutinations of the chemistry, an
evolution of regional paradigm of
thought is coherently conceived. From
this intermixture of logical
structure, perceptual grids, intuitive functioning
and inter-positive constructions, emerges the
heterogeneous fermentation of concepts, themes,
ideologies and representations.

"These options must be described as systematically

different ways of treating objects of discourse (of
delimiting them, regrouping or separating them,
linking them together and making them derive from one
another), of arranging forms of enunciation (of
choosing them, placing them, constituting series,
composing them into great rhetorical unities), of
manipulating concepts (of giving them rules for their
use, inserting them into regional coherences, and thus
constituting conceptual architectures)" (Foucault).

" First, we have an idea, or a problem, then, we act,

i.e. either speak, build, or destroy. Yet, this is
certainly not the way in which small children develop.
They use words, they combine them, and they play with
them, until they grasp a meaning that has so far been
beyond their reach. And the initial playful activity
is an essential prerequisite of the final act of
understanding. There is no reason why this mechanism
should cease to function in the adult. Theories become
clear and reasonable only after incoherent parts of
them have been used for a long time. Such unreasonable,
nonsensical, unmethodical foreplay thus turns out to
be an unavoidable precondition of clarity and of
empirical success" (Feyerabend).

SO THE TRINITY OF CREATION

SO THE TRINITY OF CREATION
SITE THREE:
RHAPSODY IN RUPTURES AND ERUPTIONS
The seeds of primordial
tendencies, infused with
fluctuating ooze of
metaphysical synchronies,
assume the phenomena of
ruptures and eruptions. It is
upon such gap of
discontinuities that the bud
of idiomorphic functioning
which has no related prece-
dents; which take form and
content by virtue of its own process of being;
which is the prototype others depend on, emerges
to assume the course of genius. With such epochal
eruption of consciousness, the induced forces of
which they are capable, the final rupture reveals
a new stratum of positions, attitudes, values, and
standards, promulgating the seam of paragons
between epochs.
"Two edges are created: an obedient, conformist,
plagiarising edge (the language is to be copied in
its canonical state, as it has been established by
schooling, good usage, literature, culture), and
another edge, mobile, blank (ready to assume any
contours), which is never anything but the site of
its effect: the place where the death of language
is glimpsed. These two edges, the compromise they
bring about, are necessary. Neither culture nor
its destruction is erotic; it is the seam between
them, the fault, and the flaw, which becomes so"
71

(Barthes).
"He must adopt a pluralistic methodology. He must
compare ideas with other ideas rather than with
'experience' and he must try to improve rather than
discard the views that have failed in the competition.
It is not a gradual approach to the truth. It is rather
an increasing ocean of mutually incompatible (and
perhaps even incommensurable) alternatives, each
single theory, each fairy tale, each myth that is part
of the collection forcing the others into greater
articulation and all of them contributing via this
process of competition, to the development of our
consciousness" (Feyerabend).

73
According to Giambattista Vico, geometry is the
intermediate science that deals with objects patterned
after metaphysical objects,first of all after the
metaphysical points. A geometrical point is what the
human mind can conceive a particular property of the
metaphysical point, that is, about the "indivisible
power of extension and motion". Every geometrical
invention is achieved by starting from the concept of
this power called conation. The objects of geometry are
not obtained from the empirical world by means of
abstraction, but by the human inventive force availing
itself of the conation of the mentally reproduced
metaphysical points.- (qtd. in Tagliacozzo and Verene)
GEOMETRY OF THE UNCONSCIOUS
AND ITS PHENOMENOLOGICAL POSITION

This space I can imagine empty, but I cannot imagine

the thing without the space. Objects contain the
possibility of all situations. The possibility of
it occurring in states of affairs is the form of an
object. Space, time, and colour are forms of
objects. In a state of affairs, objects fit into one
another like the links of a chain. Form is the
possibility of structure. The totality of existing
states of affairs is the world (Wittgenstein).

Without resorting to a synthesis or to privilege any

pole of the opposition, one attempts to bridge the
gap between the visible and the invisible in
architecture. The experience of seeing the
invisible (space) with the construct of the visible
(matter) is inherent in this exploration.

The prevailing Aristotelian concept of genesis of

idea (eidos) dominates architectural production.
Through the kinetic paradigm of "point, line and
plane", in conjunction with the Cartesian
separation of thought, vision and action, it
produces cartographic spaces whereby ideas of
architecture fulfill their telepathic destiny
through the instrumental use of Euclidian geometry.
This exploration, however, attempts to reveal another
approach by bringing into awareness the artificial sepa-
ration of subject/object polarities in the classical
conception of making space. Opposing, yet, acknowledging
the Cartesian dictum of "I think therefore I am", the line
of mediation between subject and object is brought fore
to present the notions of" I think therefore it is" and
" I think therefore we are", where both are Hegelian in
nature. However, in the context of our exploration,
thinking is no longer the dominant partner but shares
attributes with action and seeing. As such, the notion of
"I think, see and do, therefore I create" becomes the
paramount dictum for our explorations.

71
Concentrating on the dynamics of a causal matrix, the
exploration ultimately produces an object of
architecture where the complexities of chance,
atmosphere, situation and circumstance are
amalgamated into a Geometry of the Unconscious: a
final existence addressed more to our sensibility
rather than just rationality.
Allowing for analytical splendors of construction,
the process involves continuity of perception
(seeing), conception (thinking) and action (doing).
Like iron filing formations under magnets, this
continuity runs parallel to an activity which
alternates the dual functions of non-sense and
sense, resulting in a matter of culture based upon
form, patterns, proportions and shapes in the making
of space.
73
This exploration as informed by a process of "mimesis,
method, metamorphosis, mystique and metaphysics",
shall be studied as a spatial informant, providing the
tectonics of their forms, evolving, in due process of
construction, architectural spaces.
The investigation should proceed in a meticulously
exact and pedantically precise manner. Step by step,
this "tedious" road must be traversed - not the smallest
alteration in the nature, in the characteristics, in
the effects of the individual elements should escape
the watchful eye. Only by means of a microscopic
analysis can the science of art lead to a comprehensive
synthesis of form and space. This analysis will extend
far beyond the confines of "art" into the realm of the
"oneness" with the "divine" (Kandinsky).
Significantly, this exploration also attempts to
digest the process and theoretical foundation it sits
on. The inspiration stems from the confluence of
Diderot's Encyclopedia and The Life and Thought of
Chang Hsueh- Ch'eng.
Diderot asserted that "all man's knowledge derives from
his sensory perception - from his place in the universe"
and indicated that the state of "memory, reason and
imagination" of their time and how this "sacred
trinity" imprinted on the land as architecture forms
part of Man's way of expression, creating a universe
of heterogeneous sensations, Chang's "organic view of
history" which was Hegelian in nature almost suggests
a theory of culture indicative of Vico (Tagliacozzo and
Verene).
He was principally influenced by the school of the Sung
philosopher Chu Hsi (1130-1200) which divided all reality,
including human personality and human action, into two
metaphysical parts: "ch'l',' matter or perceived reality,
and "li" intelligible principle or moral law. Although the
object of learning was the attainment of an essentially
mystical moral enlightenment, the learning process itself
involved the study of actual perceptible "things"
(Nivison).

Another influence was the teaching of Wang Shou-jen

(1472-1529), or, Wang Yang-Ming. His school, considered
unorthodox, criticised its opponents for holding the view
that moral law or principle is isolatable from the action
of one's own mind in given situations - a view subtly
tempting the individual to delay moral action while
engaging in the study of an objective and external "li"
According to this school, moral truth and moral
existence were identical. Moral truth could only be
grasped intuitively; it could not be stated, for to
state is to abstract; to form a concept of it is to
separate it from reality. Wang was thus led to a theory
of intuition that identified moral knowledge with
moral action (Nivison).

On another literary plane, the evolved "literature of

architecture" is based upon a hermeneutic
centripetal/centrifugal polyglot whose circumference
of influences include, among the abovementioned
discourses, Husserl's Phenomenology and Origin of
Geometry.

Upon such literary framework, Diderot's "sacred

trinity" intertwined with Chang's "organic view",
forms a "spiraling trinity of visualisation (see),
execution (do) and conception (think)" ad infinitum
where one concocts the methodology from which to induce
the idiomorphic of objects (visible) and their spaces
(invisible).
This decentering of idiomorphic functioning may
include transposition of bipolar
subjective-objective necessity and other
introspective metamorphosis of factors denoting
syntactic, semantic and pragmatic intercourses,
promulgating an array of forms whose characteristics
lie mainly with the abstract, mythological,
historical, psychological and mathematical.
Therefore, with logic of aesthetic preferences
rooted onto them by culture, heredity, collective
experience and other urges, the "makers" exercise
their skills at reformations and deformations of
objects to arrive at syntheses of forms and spaces.
This compounding of polytypic functions includes
complex measures of imagination, and transference of
phenomenological scales from perception to projected
horizontal and vertical reality.
Through craftsmanship, the object reveals and
sculptures space, beyond the realm of
predetermination and calculations. For "they are not
imitated from nature, but they are so well put
together from the parts of these and other things,
that they represent something entirely new"
(Tatarkiewicz).
"In a sense", says Paul Feyerabend, "perception,
accordingly, is a process in which the form of the
object perceived enters the percipient as precisely
the same form that characterised the object so that
the percipient, in a sense, assumes the properties
of the object. Experience is important for knowledge
because, given normal circumstances, the perception
of the observer contain identically the same forms
that reside in the object" (Feyerabend).
The "makers" of such objects are the bricoleurs who,
says Levi- Strauss, "use 'the means at hand,' that
is, the instruments they find at their disposition
around them, those which are already to be used and
to which one tries by trial and error to adapt them,
not hesitating to change them whenever it appears
necessary, or to fry several of them at once, even
if their form and their origin are heterogeneous"
(Derrida).
If the art of the visible (making things) presupposes
the invisible (making spaces) as phenomenology
presupposes psychology, the materiality of matter
presupposes spaces of that same matter. In assembling
the elements of an object, there must then be more
than seven ways of perceiving, more than seven
intentions.
Thus, choosing one matter over another plays a
crucial role in the process of design for each matter
of being takes on a whole different condition than
any other - not just psychological but
phenomenological, which encompasses both conscious
and unconscious positions, both the visible and
invisible.
 ON METHOD
In summation of this
exploration, one traces the
process of discovery from
the end in order to formulate
the method(s) involved. On
the literary level, the
"literature of
architecture" is based on a
hermeneutic centripetal
input whose influences
include Kafka's
Metamorphosis, Marcel
Duchamp's The Bride Stripped Bare by Her Bachelors
and the music of Glass, Reich and Anderson.
Therefore, one concocts the foundation for method
that induces the idiomorphic of works upon this
literary framework.

However, one may question the validity of such end

products whose qualities are mostly only
different. The answer may be that the end product
is no longer a question of validity because it is
only a by-product of an accumulated existential
phenomenology which centers upon idiomorphic
functioning. It includes transliterations of
bipolar subjective- objective necessity and other
introspective metamorphosis of factors denoting
syntactic, semantic and pragmatic intercourses,
promulgating an array of forms whose character-
istics lie mainly with the abstract, mythological,
historical, psychological, mathematical,
educating and informing the worker in the process.
In this process, the transmission of an accumulated
body of knowledge, intuition, experience and etc,
may take deliverance in eventually making "real"
architecture and context.
Starting from "Degree Zero" (Barthes), the maker selects
artifacts (machine, organ, etc.) for perceptual
analysis involving precise geometrical
deconstructions, dissections etc., and exercised in
immediacy. Such contact between the maker and medium
constitutes the original act of creation. As Gaudi said,
"in order to arrive at originality, one has to return
to the origin" I (Buhle).
By a series of internalisations of time-space
transformations and eventual realisation of the
by-product, perceptual tactics, conceptual strategies
and skillful operation techniques the maker exercised
upon, it evolves "a concept formed in our mind so that
we might gain knowledge of any sort of thing and act in
accordance with what we have discovered" (Zuccaro qtd.
inTatarkiewicz).
 BEINGSPACE
What is night for all beings is the time of awakening
for the self-controlled, and the time of awakening for
all beings is night for the introspective sage, (from
the Bhagavad Gita)

In our twilight years, we dream of returning

to a spatial intimacy that once upon a time was
shattered by a memory of calligraphic text which has
since become the definition of built space as "Palaces
of the Collective Unconscious" (Suler), the
crystal-precipitation-principle of architecture as
dictatorship of consciousness.
This dream of the "jungle" however, leads to
an unlearning process - hence, to a loss of fear - so
that one can be led by one's curiosity, like Alice in
Wonderland into the enigma of caves whose space can only
be identified by flickering lights of fire reflected
by springs and streams, their sound of which echoes
through a multitude of forms. The cave was the first
temptation in creating architecture, the result of the
intersection of unconsciousness and consciousness,
light and darkness, space and non-space.

99
Stripped naked of our haunting layers of
presumptions and acute assumptions, let us descend
into the pre-Platonic cave, the Paleolithic
grotto, to recover the positive dialectic of
amnesia without which memory can become simply a
curse, coagulating at last as the history of space.
Our past associations with ordered space is mostly
the right angle, the very antithesis of the
grotto's aesthetic shapeless, meandering and
amazing spaces, melted stalagmites and stalactites
- its organicity and fluidal space from which our
XYZ 360° vision- ing is liberated from Cartesian
dimensions.

103
To draw a line is to separate and create spatial hier-
archy (father/son, mother/daughter, people/animals,
interior/exterior). This coincidental opposition here
still appears in medieval space (which survives in a
few places like Bali, Kathmandu or Venice) where the
excessive cruelty of the grid is mollified - not erased
but softened - by inducing spaces according to the tree
or river. They are urbanism of the organic, aesthetic,
complex or plural.

ios
These are spaces where fetal memories lose their heaviness,
taking on primordial air with constructed forms that appro-
priate (through design or the accidents of decay and accre-
tion) the forms of breasts, phalluses, wombs, brains, organs
that have evolved in the course of our organic conception.The
classical grid space wants memory to persist through time
- smooth and empty time - but consciousness persists only
in the deliquescence of accidental time.
Here, within the foliage of jungle floors and suspended
walkways, we are lost both in time and space, as we were
in the wombs of our mothers. As we step into these "floating"
primitive huts among treetops, the views are concocted less
by intellect but more by poesies enhanced with visual
immediacy. The umbilical cord is once more attached back
to a womb of another mother, whose properties encompass a
larger nature.

Who can blame us for harbouring both a nostalgia and an

insurrectionary desire for the narrow winding alleys,
shadowy steps, suspended walkways, fluidal tunnels and
crevices of a cave which designs its inhabitants -
organically, unconsciously - within an aesthetic of festive
and secret conviviality, and of the curvaceous mutability
of memory itself?

From here and now, we shall scale and unseal the space of
fetal tendencies, of festal space - and the cave of
BeingSpace, without which existence can only be a matter
of reciprocal tolerance between being and nothingness in
linear time. After all, this is only a reflection of our
tendency to recreate space from fetal unconsciousness - the
interior body's psychogenetic urge to construct an
architectural exterior, unwrapping our organic spirits and
revealing them in spatial terms.
CONSTELLATION OF THE UNCERTAIN
A COLLECTION OF MODELS, DRAWINGS AND TEXT IN A
COMPILATION OF ARCHITECTURE
©
154 CONSTELLATION OF THE .UNCERTAIN
Within a context of uncertain truthfulness, the
collection emits a blinding clarity whose
piercing illumination seeks an exposition of
possibilities, probabilities and potentialities.
Through a non-prescriptive format, their
recombined genetic calligraphy brushes upon
our consciousness, disturbs our sense and
sensibility and arouses our inquisition. In
emotive silence, they speak of reason,
memories and imaginations. From bygone
memoirs, intellectual capacity and intuition,
they produce faint constructions of an
archaeological cryptogram whose
characteristics lie with the abstract,
mythological, historical, psychological and
mathematical.
Operating within their logic of aesthetic
preferences, complex measures of
visualisation, transference of phenomeno-
logical scales - from percept to concept to
projected horizontal and vertical reality -
they have ventured beyond the realm of
predeterminacy and calculations. They have
formed and informed us of an uncertain but true
tropic of lights shining with acute angles
through darkness' certainty whose property is
everywhere and yet nowhere.
They are the stars of this uncertain
constellation, upon which the names are inscribed:
Sarah Shan • Stephanie Lu • Dean Ma • Doris Yuan
• Dee
• Faye Tan • Miya Xie • Yijia Guo • Jacquie
Cheung • Wang Sholo Ao • Chee Li Lian • Kelly Lee

168 CONSTELLATION OF THE UNCERTAIN

• Kelley Cheng • Yang Li • Kevin Lim • Chan Yea Mei
• Chow Ying Men • Chung SzeTing • Paul Goh Kok Wee
• Flo Ai Ling • Hanson HoTai Loon • KorTeck Poh •
Lee Kyll Synn • Lim QiuYun • Low Sing Hui • Marah
Muzer Rohani Sekhan • Ng Hui Sin • Hui Hui Teoh •
Pok Su Lin • Tan Jia Yee • Tan Kian Khim • SherwinTeo
En Rui • WangTsaiping "Wong SzeYin • Zhang Ting
Ting • Kimmy Cheung Ying • Mun Fai • Ng Hoon Hong
• Cheng Ping • Chew Weng Huat • Genevieve
Goh Chay Ngee • Eunice Mei Feng Seng • Lin Hsu Chuan
• Jeffrey Ho Kiat 'Thomas Kong Kwok Hoong •
LeongTengWui • Leong Huey Miin • Li Khai Ee • Lim
Boon Siong • Lim Kee Hua • Mark Lee Onn Low • Mervyn
Lee Liat Hong • Clifford Tan • Ng Lee Ping • Poh
Joo Haup • Robin Tan • Edwin Cheong • Hanson Ho •
Edmund Ng • Rocky Lee • Seng Siang Hou • Teo
ChongYean "Terence Seah Kwang Seng "Toh Kim Hor •
Vivien Leong • Ng Hoon Hong • Loo Kok Hoo • Ang Lee
Yen •
JasmineTan • Chang YongTer • Khoo Peng Beng •
Angelynna Lim • Charles Chandraputera • Cheryl Wee
• Kerry Lauren Jothy • Chong HuiTheng • Ho SooYing
• Oh Biyi • Huafang • Jeremy Goh • Koh Sock Mui •
Jawn LimTze n Hin • Lorraine Tan • Ernest Phuah Hong
Thye • Polly Yeung • Agnes Soh Joo Min "Tan Cheng
Ling *Tay KaiTzu • Jasni Ngahtemin • Jacinta Neo
• Edwin Cheong • Steven Lim • Jacinta Sonja • Meng
Koz *Yao Chin Leng • Berlin Lee • WagenThe • Wayne
Peh • Lui Ai San • Wilson Joash Khoo • Idris • Chris
low • Mahendran Reddy • Anastasia Olivia • Chee
Seng • Letitia Khoo • John Mueller • Gary William
York • Audrey Sabrina Hall • Charles John Nickelson
• James Richard Brown • Todd Butler • Christine
Elise Pannage • Clint Davis • Bennett Paul
Tintinger • Penny Ann Moog • Carl Lee Suurendonk
• Mark William Gibson • Jay Clark • Dave
Ochsner • Brian Lawson • Tim Wilson • Lorri
Williams • Susan Kink • Shuya Bradley "William
Gunville • Gary Edward • Darcy Garneau • Jonathan
D. Rader • Carlene E. Pederson • Suzanne McCoy
• Daisy Alvarez • Nada Ahmadi • Deborah
Socarraz • Paul Llopis • William Davies • Kerry
Williams • Charles Lewis • Christos Kapetankis169
•
Paul Obeid • Lino Fernadez • Moses Ukejiana •
Lester Williams • Bart Davies • Eric Schmidt •
Eleni Papageorge • Edward Lau • Francisco Venegas
• Jeff Way • Michael Baker • Ken Dortch • Mofe
Stallings • George Benning • Kek lee Ngumay • Berry
Donnie • Troy Mackin • Kathy Macias • Samir Hihazi
• Herbst Stuart • Jim Duong
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