假如Albert Speer是Léon Krier的神祈，那Giuseppe Terragni就是Peter Eisenman的撒旦
一個是納粹，一個是法西斯
一個是堅守後現代歷史主義形式的餘孽，一個是隨著時代進化的騎牆變形蟲
其實不能怪他們，我後來才理解到原來他們都只是在找理論的靠山而已
只是不湊巧偏偏跟希特勒和墨索里尼扯上關係
所以我又發現
罪惡的淵藪其實是Sigfried Giedieon
因為就是他，歷史會變成主觀的曲解
也因為他，所有建築師都在杜撰自己的現代主義
都是寫自己的建築史
建築一下子變成知識的商品
過去對社會，對人類文明的偉大理想漸漸不見
剩下的就是像Krier或Eisenman這樣的意識形態建築師
為了自身利益，不惜泯滅良知，向邪惡靠攏
關於George Orwell，中文是喬治 · 歐威爾最早的記憶應該是動物農莊（Animal Farm）吧！從小學到大學，到今天，說是伴隨著我成長，可能過度矯情，不過，的確是如此。我的Coffee Mug也是George Orwell，應該是10年前在Rizzoli SOHO買的，一直用到現在，不過，只是習慣而已，不是甚麼收藏。
動物農莊是一部政治諷刺小說，描述農場理的豬跟農場主人– 剝削者之間的對立；人類剝削畜牲，畜牲必須革命，結果，豬雖然戰勝了剝削者，但因為權力的腐化，掌權的豬最後也蛻變成跟人類一樣的畜牲剝削者。我雖然不是一個政治狂熱者，也沒有熱情，喜歡動物農莊的原因全然只是因為馬克思的資本論，我一直對資本家，工人，上層建築，下層結構的辯證情節有極度的偏執跟興趣。
Pink Floyd在1977年的專輯 — Animals，概念據說也是來自於動物農莊。那是一隻四十尺長, 在 Battersea Power Station 上空「盤旋」的飛天豬氣球，豬就是資本家，Battersea Power Station裡的工人，其實是受到高高在上的資本家的監視，所以我對豬也有莫名的好感，當然，不是對資本家有好感，我說過，我只是對理論有興趣而已。
He strode down the street with his hat tipped back,
He looked each man in the eye and nodded,
He paused in front of every shop window (and everyone knows he is lost)
–Bertold Bercht, ‘A reader for those who live in cities’, 1928.
Perhaps this is the only joy my bred circumstance can bring me – a weak vain groan belongs to a kind of anxious joy.
I have forgotten when did I start to be anxious, but it did not disturb me. I remembered, each time I wandered in the streets of New York City, when I tried to hear the pulse of this city from the sole of my feet when I took a deep breath carelessly for some air from this city in the dizzy, burning sun, a sore of puzzling confusion, variable illusion a tricky phenomenon close to nightmare then spread upon me greedily like a great cover of universe, confined me in this endless jail … where the time span is prehistoric, present and seems also the space of future.
Reflections, memories, and omens conversed and chanted constantly to one another in that space. An everlasting roaming and changeable scenes grew, performed a broken, shattered, fragmentary vision continuously and repeatedly, like the visions of tower babel described in the Old Testament – neither one knows when and who constructed this tower, nor one knows when and why this tower ruined into hundreds of thousand pieces.
The remains of the tower, just like a skeleton of prehistoric gigantic animal, lay peacefully and gracefully on the land where provoked the God successively for a voiceless pant. Gradually, it disappeared its top once towering onto the clouds where is the end of glorious sunshine. – despaired, hopeless, hysterically, Kafka stylized, Camus stylized, Satres stylized……, one though horrible but might be forgotten space twisted, screamed in the breath filled with pestilence and destroyed endlessly.
Haw Hsu, June 1995, New York City
Mai’ban Chi
