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Every unrealised project belongs to an eclipse theory, as it is not, and cannot be anything more than surmised (given that something operates in its place, in its designated site). But it is not so much a desolation as a devastation, hence its eclipsed nature, occupied by another region of concepts that clouds its already unknown being. Every project is the result of non-application. Non-application in the double sense of the word: non-diligence and assiduity, which is paradoxically provoked by its other sense, a superimposed ornamentation of different matter. In this series of images you will find the spirit of reparation, of restitution, of the promotion of wisdom, rational doubt and opposing considerations. It is a journey through omitted or baseless glimmers whose misfortune is not the fact of not having been built, or of not having found their space, but rather of not having been inhabited, of not having possessed or been possessed. Because what is present is what lives and endures. In other words, endurance is not irrevocable, it can be dismantled and forgotten, nothing, including the most beautiful notation, can prevail without a record. Without a doubt, this has been an archival work, whose solution has been to process the object and to address it, so that it is not corrupted by oblivion and it is interpreted based on its scale, dimension and its individual metrics. Heidegger stated thatthe measure of the essence of man in relation to the dimension assigned to him takes dwelling to its fundamental scheme. The measure of this dimension is the element in which man has his guarantee, a guarantee of dwelling and enduring. This measure is the poetic essence of dwelling. To poetize is to measure.

This project seeks to restore these omitted traces, based on fourteen unrealised projects by Le Corbusier, such as: The Governor’s Palace, in Chandigarh, the Chimanbhai Villa and the Hutheesing Villa in Ahmedabad, India,  Le Maison Canneel in Brussels, Belgium, the Paul Prado Villa in Buenos Aires, the Durand Oued Ouchaia residence and the Museum of Limited Growth in Algeria and the Mundaneum Musée Mondial in Geneva, among others. Somewhere, nowhere reflects upon the very state of utopia that, in itself, becomes no place, nowhere. That is, where can we find somewhere that is synonymous with non-existence? But utopia can be understood as rebellion, which is like a never-ending trip awaiting the perpetual arrival to nowhere, facing the challenges of destiny with no final objective. Even the utopian intention may be understood as a survival strategy in the face of a hostile environment, which is usually the Social System as a whole. The fourteen restored projects by Le Corbusier are not intended as mere documentary or archival material. They intend to occupy a presence, to possess and be possessed, to address the system of mythemes: small fragments of myths which, by contamination, will suggest many others to us. Therefore, it is not the uprising of an Icaria, as we all know the result of that. It is an attempt to transfer, artistically speaking, what Max Weber defined as polytheism of values. It proposes an action, which is an inversion of influence, a recreation that, in a way, should strengthen the sense in which community views itself; when one kind of imagery does not displace another but rather exceptively accesses it, since it is a re/creation which suggests singularity and exception, in an attempt to recover its collective dimension.