TO MEND THE MATTER, TO CULTIVATE SYMPATHY: ON
TO MEND THE MATTER, TO CULTIVATE SYMPATHY: ONVULNERABLE WALLS AND EXPRESSIVE SURFACESSabina AndronkeywordsUrban surfaces, mending, new materialism,architectural matter, impermanent architecture,sympathy of things, material agencySuperficies urbanas, reparación, nuevo materialismo,materia arquitectónica, arquitectura impermanente,empatía de las cosas, agencia material“Something there is that doesn’t love a wall,That sends the frozen-ground-swell underit, And spills the upper boulders in the sun;And makes gaps even two can pass abreast.The work of hunters is another thing:I have come after them and made repairWhere they have left not one stone on astone, But they would have the rabbit outof hiding, To please the yelping dogs. Thegaps I mean, No one has seen them madeor heard them made, But at spring mending-time we find them there.”—Robert Frost, Mending Wall, 1914This is a praise to impermanence, to the vulnerablebuilding, to changes in stone.This essay was born out of an interest inthe lack of stability of architectural form, andthe spacetime that unfolds in its encounter andinvestigation. As an architectural and urban historian,I spent quite some time researching what couldbe argued to be one of the more unstable spatialtypologies of the built environment, namely, buildingsurfaces. Skins, borders, edges, coatings, territoriesof inscription and regulation, surfaces are a locusof mediation and materiality, a friction-full transitional space between the built and the open.01.Sabina Andron, “To Occupy, to Inscribe, toThicken: Spatial Politics and the Right to theSurface,” Lo Squaderno 48 ( June 2018): 7-11.02.Lars Spuybroek, The Sympathy of Things:Ruskin and the Ecology of Design (London:Bloomsbury Academic, 2016), 112.03.See, for example: Suzanne Blier, The Anatomyof Architecture: Ontology and Metaphorin Batammaliba Architectural Expression(Chicago; London: University of ChicagoPress, 1994); Tim Ingold, The Perceptionof the Environment: Essays on Livelihood,Dwelling and Skill (London: Routledge,2000); Tim Edensor, “Vital Urban Materialityand Its Multiple Absences: The BuildingStone of Central Manchester,” CulturalGeographies 20, no. 4 (2013): 447–65,doi:10.1177/1474474012438823; and StephenGraham and Nigel Thrift, “Out of Order:Understanding Repair and Maintenance,”Theory, Culture & Society 24, no. 3 (2007):1–25, doi:10.1177/0263276407075954.Edensor, “Vital Urban Materiality,” 448.04.informaIssue #12 ‘Site Conditions’Previously, I have argued for the political potentialof surfaces to question urban property regimes andrights to visibility and spatial production, and Ihave even written a manifesto about the right to thesurface, where I argued for this right as being“processual and formative [.] It seeks change andmovement, not stability and permanence. It is aright to risk, not to safety. [ ] A right to incoherence.”1It is this insistent exploration of surfacesthat has brought me to consider the unstable matterof architecture, the tension between our aspirationalstability, and the continuously evolving matter ofour built environment. In this essay, I will take myexplorations of surfaces further, to focus on twoencounters with precarious surface matter and thelessons they could teach.Inspired by Robert Frost’s poem MendingWall, I will use the concept of mending to readmaterial processes taking place within buildings,which extend beyond human agency in patchingand fixing damaged architectural matter. Firstly, Iwish to suggest that matter has its own way ofsticking together, and show how explicit instancesof patched-up surfaces are exemplars for thecontinually altering materiality of the built environment. Secondly, this essay is a meditation on themethodology of proximity and sympathy: of beingthere, taking place, and intensifying the encounterwith architectural matter. “I am with the stones”, asDutch architect Lars Spuybroek declared.2For this exploration, I have chosen tofocus on two building surfaces that have recentlyimpacted me by stopping me in my tracks andcreating several hours of attention and close examination. One is a building in the small Tuscan townof Pistoia, in Northern Italy, and the other one islocated in Lebanon, in the central Beirut area ofGemmayzeh. Despite their historical, ideological,and material differences, these two buildings areunited by a visibly precarious stability, manifestedin the material patches that make up their street-facing elevations. They both reveal the delicate resultsof past mends, of sutures and patchworks which areseamfull (as opposed to seamless), and which canteach us lessons about embracing instability andempathizing with the expressive matter which soaptly aspires to stick together.UNSTABLE BUILDINGSThe first assumption I wish to challenge is thatof buildings as stable, finished objects which weaspire to occupy and imagine as durable and solid.Even though we witness changes to buildings allthe time, either individually or on a mass scale, theoverarching Western architectural narrative is thatof stability (the Vitruvian firmitas), of which phases23
of transition are considered mere exceptions, to besolved, hidden, ameliorated, mended.However, buildings are not static. Theyare living organisms, with life-histories madefrom never-complete transformations and residualmaterialities that entangle both human andnon-human components.3Buildings are inherited and herited, andthey are comings-together and fallings-apart ofmaterial components through space and throughtime. Architectures move, evolve, degrade, and arethe objects of ongoing change processes, despitethe expectations of stability and reliability that wehave of them. Writing on urban materiality andstone, cultural geographer Tim Edensor observesthe macro-scale of these transformations:In the modern urban built environment,changing social, economic, and politicalprocesses continuously cause the demolition, replacement, renovation, and reconstruction of buildings and other fixtures,producing the palimpsests and temporalcollages evident in the city’s materiality.4These palimpsests are even more evident in urbanenvironments and conditions where the materialdurability of dwelling spaces is not the defaultmeasure of people’s attachment to place, nor is ita norm of habitation. War-torn areas, temporaryand informal settlements, and self-built areas allover the world produce a diversity of typologiesfor construction and inhabitation which are indeedthe visible result of changing social, economic, andpolitical conditions.Cracked buildings after earthquakes, sacrificed buildings in demolition, destroyed buildingsin war and flood: natural or human-made disasteroften sees these previously integral, completeartifacts turn into contorted, cumbersome, stackedboulders and spalls. The heavy rubble of traumaticdestruction and the disposable remains of theoptimistic, proud, aspirational constructions thatmet their end under circumstances where they wereleft defenseless. The weakened masonry, the twistedsteel, the crumbling concrete, and the splinteredstone that speak of the vulnerability of buildings,and of the aspirations we attribute to them.Building is an ongoing process more thana finite object, an activation of conjoined matter intopurposeful form, as was repeatedly argued byanthropologist Tim Ingold in his writings on dwelling:05.Ingold, Perception of the Environment, 188.06.See Blier on Batammaliba houses asarchitectural self-images, for a discussionof the scarring/ cicatrization metaphor inbuilding; particularly Chapter 4, Houses arehuman.07.Graham and Thrift, “Out of order”.08.Edensor, “Vital Urban Materiality,” 448.24Building, then, is a process that is continually going on, for as long as people dwellin an environment. It does not begin here,with a pre-formed plan, and end there,with a finished artefact. The “final form”is but a fleeting moment in the life of anyfeature, when it is matched to a humanpurpose, likewise cut out from the flow ofintentional activity. 5I wish to actualize and intensify the transient condition of all built matter, to foreground this unstablecondition of architecture and to acknowledgebuildings-in-making and buildings-in-degradation—layered buildings and hurting buildings—asprimary architectural conditions. I propose anexploration of buildings as ensembles of multiples,and as patchy, temporary collections of materialsstriving to enclose, protect, and project an identitythrough their surfaces. Buildings—as patchworks ofevents and surfaces that are thick with time, matter,and structural depth—are true to events and theirsequence: what is missing and what was replaced,what stays exposed like scar tissue, without a rightto hide, the leftover, that which endures and thatwhich is gone.6MENDING MATTERIn the ongoing changes of building matter, forcesof decay are constantly met by processes of repairand maintenance, which are fundamental to thefunctioning of cities and infrastructures.7Moreover, I would suggest that built matterhas its own capacity of propping itself up andaccommodating various external pressures. In otherwords, building intentions do not belong solely tohumans; they are also of the materials and of thespaces between the materials. For example, Edensorobserves urban materiality as “an empathetic conjecture, an imaginative response to often obscureand vague signs that something is missing fromwhere it used to be.”8This empathy is developed between thematerial elements of the building, between the newand old stones, the bricks and the concrete, theplanned and the happenstance. There is a grounding,a labored stabilizing of different material conditions,a correspondence and coming into accord betweenthe human and non-human.I would like to propose this coming-together as a form of mending, which I would defineas a continuous process of accommodation andself-accommodation that embraces change andacknowledges vulnerability. Mending is a provisionalarrangement of matter in the mend-space (of thebuilding, in this case), a seamfull patching of builtmatter that rearranges itself after each human actionit is subjected to. I propose to recognize mend-spaceas a constant condition of our built environment,which only temporarily freezes into apparentstability and desired durability. It is the unstable thatis reliable, and the temporary that is permanent.The meanings of the verb to mend are allexpressive of a recompense or reparation, a correction
Figure 01. The half-arch on this building in Pistoia, Italy made me consider the agency of matter in configuring itsown place, and in creating visibly “patchy” urban textures. Photo by author, September 2018.or fix.9 The verb is most often used in relation tosomething broken, defective or torn (especiallyholes in fabrics), but it also refers to restoring healthor curing an injured part of the body. Overall,mending is an act that adjusts and sets right, rectifiesand corrects a damaged object or situation. In fact,invisible mending is used to describe a techniqueof repairing fabrics by using threads from the samefabric, so that the result is seamless.I am interested in mending as a form ofcare-full putting together where the materials pushback and make an otherwise desired invisibility,or seamlessness, be visible: building surfaces asseam-full mends, where active materials arrangeinforma09.Oxford English Dictionary, s.v. “mend,”accessed March 15, 2019, http://www.oed.com/view/Entry/116388?rskey ha24Km&result 1&isAdvanced false#eid.10.Graham and Thrift, “Out of order,” 5.11.W. J. T. Mitchell, “Showing Seeing: ACritique of Visual Culture,” Journal ofVisual Culture 1, no. 2 (2002): 165–81,doi:10.1177/147041290200100202.12.Sabina Andron, “Interviewing Walls: Towardsa Method of Reading Hybrid SurfaceInscriptions,” in Graffiti and Street Art:Reading, Writing and Representing the City,edited by Konstantinos Avramidis and MyrtoTsilimpounidi (London: Routledge, 2017).Issue #12 ‘Site Conditions’each other and occupy together. For example, urbanscholars Stephen Graham and Nigel Thrift refer to“maintenance and repair” as “chief means of seeingand understanding the world”10 which allow fordevelopment and innovation. In addition, I wouldsuggest that mending involves a particular kindof rapport that is sensitive to the harmonies thatare formed within the mended matter, alongside theinstrumental act of repairing something damaged.Moreover, mending also entails a deep understanding of the complexities of the mending body, thetextile, the building’s surface. It is an arrangementof matter that is sensitive to the affective nuancesand the delicate accords that keep matter together,and is not preoccupied solely with fixing in orderto restore function, like repair and maintenance.But how can matter mend itself, and howcan this process of mending help us develop anunderstanding of buildings as impermanent, processual comings-together of matter? Before I attemptsome answers by being with the two buildings Ichose as my examples, I will briefly discuss someapproaches to materiality, things, and matter whichcapture the vision of this essay. New materialistliterature is vast and I am well aware of my verylimited approach, but I dare work on the basis of ashared ethos, not losing sight of that initial instinctthat stopped me in front of the surface in Pistoia[Fig. 1] and immediately made me think, “There issomething about this arch, what does it want, what25
can it do”, while also having in mind visual culturetheorist W. J. T. Mitchell’s proposal about thepower of images to do things,11 and my attempts toestablish a method of interviewing walls.12This quest therefore takes inspiration from politicaltheorist Jane Bennett’s “vital materiality”,13 anthropologist Tim Ingold’s “matter in movement”,14archaeologist Ian Hodder’s entanglements ofhumans and things,15 and architect Lars Spuybroek’s“sympathy of things”.16 These are examples ofconceptual and methodological approaches comingfrom geography and anthropology, which emphasizethe capacity of matter to act in interconnected ways,to gather, join, and correspond: “Things are notisolated and they are not inert. Things are connectedto and flow into other things, always transformingand being transformed.” 17 Hodder further speaksof a “thingly” human existence,18 while Bennettproposes “thinghood”19 as a fundamental operationof world-making. Ingold describes things leaking,not being complete or final,20 while Spuybroek goeseven further to refer to the feelings of things, which“should be jungles, overgrown by relations, woven,frayed, nested and entangled.” 21In thinking about how things answer toone another in their gathering, and how mattermends itself in the built environment, I foundSpuybroek’s discussion of the “sympathy of things”to be particularly inspiring.Spuybroek’s 2016 The Sympathy ofThings: Ruskin and the Ecology of Design is a vigorously written argument which praises ornamentand Gothic architecture in digital design, underlinedby this affect of sympathy which the Dutch architectdefines as, “what things feel when they shape each13.Jane Bennett, Vibrant Matter: A PoliticalEcology of Things (Durham, N.C.: DukeUniversity Press, 2010).14.Tim Ingold, Redrawing Anthropology:Materials, Movements, Lines (Farnham:Ashgate, 2011).15.Ian Hodder, Entangled: An Archaeology of theRelationships between Humans and Things(Malden, MA: Wiley-Blackwell, 2012).16.Spuybroek, Sympathy of Things.17.Hodder, Entangled, 41.18.Ibid.19.Bennett, Vibrant Matter.20.Ingold, Redrawing Anthropology.21.Spuybroek, Sympathy of Things, 105.22.Ibid., 109.23.Ibid., 135.24.Ibid., 119.25.26.Carl Knappett, An Archaeology of Interaction:Network Perspectives on Material Culture andSociety, Oxford (New York: Oxford UniversityPress, 2011).Hodder, Entangled, 41.27.Spuybroek, Sympathy of Things, p. 123.26other.” 22 Sympathy refers to things that are in aprocess of mutual formation: they don’t just meetfrom the outside, but they join from within. Theydon’t simply assemble in a given circumstance, butthey correspond from their interiority in a gathering,whereby things take shape and dissolve into eachother through their inner vectors.A wall, then, is an active process of comingand staying together. Spuybroeck writes, “Sympathyis the accordance of the activity of the one with thatof the other.” 23 In other words, a process of thingscorresponding with each other and adjusting toeach other. Mending is therefore not just a resultof humans acting on matter; it is also somethingthat matter does, intransitively, in its being together(what Jane Bennett would call a “thing-power”,or ability).I believe that tuning into this “sympathyof things” is what happened to me on the encounterwith the two buildings I will describe next. Spuybroekquotes Henri Bergson’s references to intuition andaffinity as models for such an approach:We call intuition here the sympathy bywhich one is transported into the exteriorof an object in order to coincide with whatthere is unique and consequently inexpressible in it. Analysis, on the contrary,is the operation which reduces the objectto elements already known.24I am with the stones , which does not equate withfetishizing, or even with liking them. It is ratherthe exploration of a companionship, kinship, agenerative thinghood which comes with lessonsabout sticking together (quite literally) and intensifying these spaces of addition and proximity. Iwill turn to my intuitive encounter with the wallsnext, to explore the process of tuning into theirprecariously stacked elements, where mending isvisible and useful.SURFACE ENCOUNTERSMuch on the new materialist literature I havediscussed begins from anecdotes, encounters, andmoments of acknowledging objects, spaces, orthings as being more than they appear. Follow thematerial which is in movement and flux, archaeologistCarl Knappett encourages: your body has to moveif you are to follow the materials.25 Similarly, IanHodder writes about going towards and away fromthings, being there with things.26 Moving into theobject, moving with it, adjusting your speed: “Thisis exactly what the method of intuition is: anexpression of sympathy through a floating andmodulating of attention, a specific effort of gradation.” 27 It is no surprise that my own encounterstook place on open walking sessions in unknownenvironments, where I would set a pre-dispositionof allowing myself to be hooked, to stop, to bethere, and be with. I believe some of the bestencounters are born from such a disposition, whereintuition becomes the guide and matter calls inincreasingly clear ways.
Figure 02. A mismatching leftover building feature can generate enquiries about affective matter, building processes and the value of prolonged, empatheticobservation. Photo by author, September 2018.informaIssue #12 ‘Site Conditions’27
Figure 03. Matter makes itself obvious despite builders’ efforts to regulate it. For example, the window bays on the left side of the photograph are set in coloredrender, not stone, while the top right window is merely a painted illusion to maintain an aspect of order and symmetry. Photo by author, September 2018.28
I became fixated with the half arch in Pistoia on along weekend in the Tuscan town [Fig. 2]. Travelingalone, as I often do, I passed through this centralpiazza many times, and took note of the manybuildings that were decorated with the samestriped patterns of white marble and dark greenserpentine stone. A characteristic Renaissancedress for many buildings in that area, the whiteand-jade-green stones have not aged with the samestructural integrity, and there are indeed manysurfaces where only patches, or fragments of initialclassical compositions remain.However, this wall was particularlyunique, and I had trouble understanding it: whathappened, when, that had led to this crooked,interrupted, flaunty feature. A building defect,archive of a different structural age of the building,evidence of a mistake or negligence. It seems thatnew windows were added and the original stonewas replaced in the process along the verticallines of all window bays. This is visible in thepretend-stone texture around the windows, ofwhich this partial arch is a mismatched leftover.The other accessible elevation of the building(albeit from a narrow street, not a central piazza)displays a similar patchwork of stone and render,with the latter under better camouflage [Fig. 3].There is even a painted window on the top rightside of the façade, to maintain the aspect of symmetryand order. This made me imagine the effort andskill that went into creating this disguise, but italso made me empathize with these materialswhich more readily stay true to themselves, thanto humans’ harmonizing efforts. True texturesoverwhelming their imposed forms, materials insynchrony with each other, sticking together bytheir own rules. Disobedient matter winning.In Beirut, however, the sense of densecoagulation and stability that characterized theItalian wall is lost. In a city of excess and precarity,where the built environment is pulled betweenbullet-ridden fabrics of elegant Ottoman andFrench colonial buildings, and slick, new gateddevelopments, it is difficult to find one’s footing.All for the better, I would dare argue, as this confusiongenerates room for transformative encounters, oneof which was with this building in Gemmayzeh, ona main east to west axis of the city [Fig. 4].informa28.See, for example, Mona Fawaz, “NeoliberalUrbanity and the Right to the City: A Viewfrom Beirut’s Periphery”, Development andChange 40(5), 2009: 827–852; C. Nagel,“Reconstructing space, re-creating memory:sectarian politics and urban development”,Political Geography 21(5), 2002: 71725; Gruia Badescu, “Beyond the GreenLine: Sustainability and Beirut’s post-warreconstruction”, Development, 2011, 54(3):358–367; Howayda al-Harithy, ed., Lessonsin postwar reconstruction, case studies fromLebanon (Milton Park, Abingdon: Routledge,2010).29.Sylvia Lavin, Kissing Architecture (Woodstock:Princeton University Press, 2011), 4.Issue #12 ‘Site Conditions’The building, partly destroyed by shelling, wasclosed with concrete blocks in a quick, probablyemergency fix, leaving a large exposed patch ofconcrete masonry units alongside several visiblebullet holes biting away at the existing render. Thistype of architectural aggression is not uncommonat all in a highly militarized city that underwent15 years of civil war between 1975 and 1990, andseveral destructive episodes since (one of which wasthe post-war reconstruction itself).28 This building,solid enough to stand after losing more than halfits façade, arrested me in awe and sadness. Themassive hole filled so hastily (but sticking together!)was just like a patched wound, which gave me adistinctive impulse to cover it up, protect itsprivacy, restore its integrity. A gutted, batteredbuilding, which is helpless in covering its scar, butempowered in standing up and teaching lessonsabout material vulnerability, precarity, and resilience.These two buildings are both madefrom seamfull mends, which do not conceal thestructural changes that brought them about. Theinitial encounter with the mended matter mademe feel like an architectural voyeur, deploying aninappropriate gaze and developing a fixation overa space that I was not supposed to have access to.It is precisely this type of access that attracted meto these seemingly susceptible buildings: a gazebehind the scenes, an unexpected backstage pass, amoment of intimacy that goes beyond the habitualshowings of architectural matter. Changes, fixes,and intermediary states are not supposed to bevisible: yet these buildings, like many others (onceyou start seeing), remain graciously open andvulnerable to scrutiny. While they are powerlessin hiding, refusing, or counteracting human gaze,these buildings also demonstrate resilience inbecoming, falling apart, and sticking together, likeall built matter around us.To conclude, I will turn to architecturalhistorian Sylvia Lavin’s metaphor of “kissing architecture”, to express the type of sensibility this essaywas born out of and I hope it can contribute to.Based on the kiss as a softening, fluidifying action,Lavin elaborates on what she calls an intenselyaffective cultural project for architecture, which“could simply and with devastating generosity slipitself on and over the old medium of architectureand its even older sensibilities of authority andautonomous intellection”.29 What we are left withinstead could be an instinctive resonance with builtmatter, an architectural kinship, a relaxation intoprocess and impermanence, and a renewed praisefor the generous offerings of architectural surfaces.Geographers Harriet Hawkins and Elizabeth Straughan argue in their defense of surfacesthat “textures and densities are not just things tobe seen and described, they denote co-constitutivematerialities with an ontological role in the makingand shaping of human and non-human being.”30Building surfaces are of different times and solidities, they are diverse, uncertain, susceptibleto indecent looks, aggression and affection, andfurther change, change, change. As Sylvia Lavin soeloquently put it:29
Figure 04. This crudely-patched façade on a Beirut building is further evidence for the foundational role of patches in keeping together the builtenvironment, and the underlying productive operations of mending materials. Photo by author, November 2018.A kissing exterior surface then, a surfacethat performs an entanglement ofarchitecture with another, that pushesarchitecture out beyond its own envelopeto risk exploding into something else,that—to select just one of many possibilitiesof what can happen to an exterior—entices fluttering where there is usuallyjust fixity, permits the building thatremains behind and within the lot line tooutperform itself. 31Approached with appropriate curiosity, these twobuildings have indeed “outperformed” themselvesthrough their friction-full surfaces, in the time we30.Elizabeth Straughan and Harriet Hawkins,Geographical Aesthetics: Imagining Space,Staging Encounters (New York: Routledge,2016), 213-14.31.Lavin, Kissing Architecture, 38.30spent together to densify, intensify and acknowledgethe complications of their surface-space.CONCLUSIONThe walls I discussed here, as many (all?) others, areexamples of matter articulating together, creatingcorrespondences and expressive formations. Theyare evident works of addition, or the vibrancy thatholds everything together: a wall not as a sum ofits stones, but as a sum of the operations that putthem there, the different temporalities of theseoperations, and the ensuing sympathy of otherwisedisparate matter.I am used to writing about surfaces additively, where matter stacks and surfaces thicken withlayers of graphic inscriptions. Here, however, thereseems to be a bonding condition made distinctiveby its uncovering, as there is no protective coatingto keep structural operations out of sight. Therefore,a consolidation takes place not in the depth of thesurface, through stacked material layers, but in its
breadth, in the total span of these building façadeswhich reinforce themselves in their harmoniousarrangement of mending matter.The thinghood of the half arch in Pistoiawas so intense, that it exceeded the vision of thearchitects and laborers who modified that façade.The arch was too stubborn to ignore, and it endedup holding its ground: crooked, broken, yet triumphant. None of these buildings are architecturallyremarkable or otherwise notable, but it is in theirmundane, low-key occupation that I found themost inspiring sources. The stubborn materialitythat creates temporary networks of sympathy andaffinity, the building matter that makes do, thevulnerability which liberates our expectations ofarchitecture. Matter doing its thing, with or despiteus, breaking and mending, adapting and collaborating. Patching the gaps, mending the wall, only toreturn and find it has shifted once more, much tothe delight of this curious and empathetic observer.I believe the concept of mending can betaken further to study the self-determination ofbuilt matter to stick together and re-take its positionin a permanent state of flux. Surfaces occupyingsurfaces, pushing in, suturing, and speaking ofthe processual formation and de-formation of thatwhich we desire to last.Finally, there is a note to be made on myown positioning in this process. It is without doubtthat the observations of this essay were foremostbased on the unusually displayed matter of these twosurfaces, just like they depended on me recognizingit. This capacity of recognition was partly developedthrough years of interest in surfaces and formingan empathy with these spaces; but it is also down tocultivating an instinctive, more than an analyticaldisposition for these and other encounters.Most importantly however, I believe thekey to developing caring thoughts about architectural(and other) matter is in being there, spendingtime together, creating imaginary dialogues, andintensifying the milieu between the viewer and theviewed (does the wall look back? what does it feel?).Such a prolonged, insistent presence can consolidatea rapport of care with these surfaces and other builtmatter, which is one possible response to Lavin’saffective cultural project for architecture. A changein positioning which involves becoming minor andtaking interest in the resourceful mending capacityof the built environment, which can teach us aboutmending our human entanglements in similar ways.The author wishes to thank Albert BrenchatAguilar, Sonia Sanchez Lopez, Mariano Salinas,and Regner Ramos.informaIssue #12 ‘Site Conditions’BIBLIOGRAPHYAndron, Sabina. “Interviewing Walls: Towards aMethod of Reading Hybrid Surface Inscriptions.” InGraffiti and Street Art: Reading, Writing and Representing the City, edited by Konstantinos Avramidisand Myrto Tsilimpounidi. London: Routledge, 2017.Andron, Sabina. “To
—Robert Frost, Mending Wall , 1914 This is a praise to impermanence, to the vulnerable building, to changes in stone. This essay was born out of an interest in the lack of stability of architectural form, and the spacetime that unfolds in its encounter and investigation. As an architectural and urban historian,
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. Crawford M., Marsh D. The driving force : food in human evolution and the future.
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
