Notes:

1. We use the word ‘building’ to refer to any subset of built space, from the shelter beneath a beach umbrella to the hollows of a coal mine.
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2. See Infraestructura cotidiana blog from Parque Experimental El Eco.
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3. Hidden Brain, Episode 42: Decide Already! “Every future event comprises thousands and thousands of details, but when you ask people to imagine a future event, they usually imagine one or two of those details, the ones that are central that define the episode. So if I say to you: imagine the next visit to the dentist, probably you’ll get a picture in your head instantly of sitting in a chair and someone’s fooling around in your mouth. Well that is indeed a part of the experience you’ll have. But you’ll also have to park, you’re also going to be on the waiting room, they’re going to be playing music, there will be magazines, the receptionist will be nice or not, afterwards you will or won’t have an appointment you’ll need to rush to… there’s lots of other parts of that experience that you’re not imagining and all of them can affect your happiness.
   You can’t imagine every detail, that’s not possible. But what you ought to do rationally is think to yourself: I’m only imagining one or two of the many pieces of the experience and, as a result, I should be very humble about my prediction; but nobody is. Instead they say: a dental visit? I’ll hate it! […] One problem is that we don’t imagine events correctly, we don’t imagine them as they will unfold, that’s the smaller of the two problems. The larger problem is that we don’t know who we will be when we are experiencing that event. We underestimate the mind’s ability to react to events in a different way than its reacting to them in prospect. Things look different at the windshield than in the rear view mirror. Life is like that too, almost every event you experience feels different once you’ve experience it, than you imagined you would have beforehand. That’s the part of our psychology we don’t seem very good at anticipating.
   Vedantam, Shankar, Tara Boyle, Maggie Penman, Chris Benderev, and Jennifer Schmidt. 2016. “Decide Already!” Hidden Brain. 2016. https://www.npr.org/2016/08/23/490972873/you-vs-future-you-or-why-were-bad-at-predicting-our-own-happiness
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4. “The chair itself pretends to be invisible, beside the point, a non-sequitor [sic]. But –but but but– if we take the chair away, leaving Ms. Stone standing, the cops will feel perfectly justified asking her, “What are you doing behind that desk?” She will appear to be an interloper.
   We should return for a moment, however, to the original scene with no underclothes: I present to you the thesis that Stone’s short skirt is dictated by and for the chair. Imagine that the scene takes place somewhere in Japan where there are no chairs and poor Sharon has to demurely kneel on a small cushion or mat. Even though she is kneeling she is less vulnerable-seeming as a potential victim. Easy to chop her head, of course, but remember that it’s torture we’re after here, not death. We only want to ask her a few questions.
   But what is more important is that in this Japanese movie her skirt is completely useless to her. It can be shorter or longer, no matter – she can’t cross her legs. I mean, our line of sight is not brought from Stone’s knees to her crotch. (I looked for a prettier word but didn’t find one. Maybe I should buy a thesaurus also.) It is only the chair that centers us in such a weird way. If we imagine that Sharon Stone is a pygmy somewhere in the South African veld we could also see the phenomenon more clearly. In that scene she might squat to perhaps stand on one leg, but the pygmy Michael Douglas and the other cops could not even have brought her into a room and closed the door, much les forced her into the chair (The veld is spacious but without rooms.)”
   Durham, Jimmie. 1998. Between the Furniture and the Building (Between a Rock and a Hard Place). Kunstverein München.
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5. “Kon’s implicit idea was that the ‘designed’ space says little about those who live there; it’s objects – slippers, trash, utensils, chipped bowls, tools are strewn across these sketches – instead, that are more telling of people’s economic and cultural life.”
   Sharma, Komal. 2014. “Kon Wajiro, Documenting Life in the Aftermath of Disaster.” Metropolis Magazine. 2014. https://www.metropolismag.com/design/kon-wajiro-documenting-life-after-disaster/.
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6. “It is not about giving multiple meanings to words but about making them work, saturating them until their common sense is diluted.” (Author’s translation.)
   Alcantud, Victoriano. 2005. “El Bajo Materialismo.” Filosofía, Política Y Economía En El Laberinto, no. 19: 74–84.
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7. See: Bridge and Door de Georg Simmel.
   Simmel, Georg. 1994. “Bridge and Door.” Theory, Culture & Society 11 (1): 5–10. https://doi.org/10.1177/026327694011001002.
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8. From El cuento policial, a conference by Jorge Luis Borges at Universidad argentina de Belgrano in 1978: “I would add a personal observation: literary genres will depend, maybe, less in texts themselves than in the way they are read. The aesthetic act requires the conjunction of reader and text, and only then does it exist.” (Author’s translation.)
   Borges, Jorge Luis. 2009. “Borges Oral.” In Obras Completas Volumen IV (1975-1988), 229–40. Emecé.
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9. “A tool is supposed to serve anybody and everybody equally.”
   Rancière, Jacques. 2012. “A Politics of Aesthetic Indetermination: An Interview with Frank Ruda and Jan Voekler.” Everything Is in Everything, 10–33.
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10. “In the 1960s, the visionary and influential architect Cedric Price argued that architecture should not determine human behaviour but rather enable possibility.”
    Featherstone, Sarah, and Jo Marsh. 2018. “Designing and Programming in ‘Baggy’ Space: A Case Study of the Oriel Wrecsam People’s Market Project.” In The Future of Museum and Gallery Design: Purpose, Process, Perception. Routledge. https://www.routledge.com/The-Future-of-Museum-and-Gallery-Design-Purpose-Process-Perception/MacLeod-Austin-Hale-Ho-Hing-Kay/p/book/9781138568204.
    “‘Anti-Building’ for the Future: The World of Cedric Price.” n.d. Accessed August 15, 2018. https://www.joh.cam.ac.uk/anti-building-future-world-cedric-price#sthash.RMw5R4CB.dpuf.
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11. “Building is not just a means and a way to dwelling – building is in itself already dwelling.”
    Heidegger, Martin. 1971. “Building Dwelling Thinking.” Poetry, Language, Thought 154.
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12. We believe that the more things that happen (not necessarily at the same time), the more complex and interesting the shape of a building. “Most pleasing, or most useful, might always be the “other stuff”. Suppose you build yourself a nice simple house and you like the way it looks. To me, as a stranger passing by it looks like nothing much but your house. If I come back later, though, maybe banal life and random crazy-ness will have changed it. Maybe you later build a wood shed. Maybe a tree grows. Maybe your neighbor makes a garbage dump close by, and he also constructs a wood shed. Your car breaks down and you just leave it in back, where it begins to rust. What started as a path made by taking a short cut to the tavern becomes a road and the guy across the road builds a strange fence and someone else uses the fence to post some advertisement signs. It begins to look interesting to me. The uncontrolled complexity has much meaning, much beauty. No single dead-end narrative.”
    Durham, Jimmie. 1998. Between the Furniture and the Building (Between a Rock and a Hard Place). Kunstverein München.
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