A house in town as a fantastical case for familiarity in the structure of the nine-square-grid. A Mansion of presidential style in formal opulent tone. Characterized by stateliness and dignified complexity.
Think of dwellings as people: If a group of people wanted to get to know each other, they would not line up facing each other in two straight, rigid rows, too far apart to really see anyone else clearly.
The lives of the nine square, spiraling around the rotunda, are close enough for clarity; affording the opportunity of the unexpected glimpse of one another.
In the dwelling they decide to live in closer proximity after being unhappy on their own. And that is just what they did. They carved out space for each other. In the corners on the sides or in the middle.
The lonely diner eats alone. He scuttles back and forth between kitchen and table; tending to his plants and making his bed. He never interacts with anybody. If he does so it is by accident. Only the visual disturbance of the club below distracts him from his world.
Two people: a husband and wife. He is up and about. She is on the couch. The two dress with great effort in hopes for the others across the way to catch a glimpse.
A man is affectionately characterized as the abductor by his neighbors for his apparent variety of guests he has each night. He works quietly only to be seen moving from the bar upstairs to his promenade downstairs
There’s a kind of love that grows out of these visual connections. Is it romantic love? It is not romantic love, not family love, but something about our common humanity. I wish everyone could experience this noise of the world, this uneasiness in relationships. Uneasiness in building.
