The Masterwork, Award Winning Fish Knife. With Paul Richards and the Michael Nyman Orchestra. Riverside Studios, London – 1979.
Synopsis:
The Architect has completed the Masterwork of the century. The work begins with the ceremonial unveiling of the piece. The Architect has built and conceived of the piece through his own very personal and highly structured work processes,“the hard edge principle”. All components are of the accepted standard, and all existing components conform to European Council Specifications (absurd). The Architect believes that the Masterwork will survive as a great work because of the limitations that he is imposing on it. This is the definitive work in mediocracy. Using mediocre parts he believes that he can (because of his personal style and wit) build “the building model“,a work of great beauty that will be a dictate for civilisation. He has limited knowledge and experience due to his standard institutionalised education. However, he is aware to some extent, of the “needs” of the community and, of course, he designs with the use of computerised information on the individual “needs” of the community. The work is built from computerised information. Having completed the Masterwork it is unveiled. The Architect can then move through four positions, four elevations, that reveal the unbelievable magnificence of the work. As a Masterwork it is totally dependant on the Architect’s view of himself being totally integrated in the building. No distance exists between Architect, building and the ultimate political, social, historical architectural statement. All these factors are built into the concept and actual structure and operation of the building. The work has immediate international recognition and the Architect has his age lowered to 23, the highest award for creativity. The work is unveiled in four sections. The four sections are the four viewpoints that the masterwork operates within, front elevation and end elevation, plan view and perspective view. The Architect has four major positions within his structure. His positioning in these four strategic positions acts as a catalyst to the structure, he moves through these four positions in all elevations, each elevation contains his view of the relative relationships between the building, himself, occupants and observers, audience (which level, social/intellectual/physical he is viewed/heard on).
Synopsis:
The Architect has completed the Masterwork of the century. The work begins with the ceremonial unveiling of the piece. The Architect has built and conceived of the piece through his own very personal and highly structured work processes,“the hard edge principle”. All components are of the accepted standard, and all existing components conform to European Council Specifications (absurd). The Architect believes that the Masterwork will survive as a great work because of the limitations that he is imposing on it. This is the definitive work in mediocracy. Using mediocre parts he believes that he can (because of his personal style and wit) build “the building model“,a work of great beauty that will be a dictate for civilisation. He has limited knowledge and experience due to his standard institutionalised education. However, he is aware to some extent, of the “needs” of the community and, of course, he designs with the use of computerised information on the individual “needs” of the community. The work is built from computerised information. Having completed the Masterwork it is unveiled. The Architect can then move through four positions, four elevations, that reveal the unbelievable magnificence of the work. As a Masterwork it is totally dependant on the Architect’s view of himself being totally integrated in the building. No distance exists between Architect, building and the ultimate political, social, historical architectural statement. All these factors are built into the concept and actual structure and operation of the building. The work has immediate international recognition and the Architect has his age lowered to 23, the highest award for creativity. The work is unveiled in four sections. The four sections are the four viewpoints that the masterwork operates within, front elevation and end elevation, plan view and perspective view. The Architect has four major positions within his structure. His positioning in these four strategic positions acts as a catalyst to the structure, he moves through these four positions in all elevations, each elevation contains his view of the relative relationships between the building, himself, occupants and observers, audience (which level, social/intellectual/physical he is viewed/heard on).