This journal contains a curated record of architectural projects realised in collaboration by Audrey Adams, Zachary Henderson, Fanqi Sun, Yongyan Jin, Dashun Li, Jia Yang, Ong Ting Fang Clara, Georgia Mactaggart, Matija Dolenc, Hui Chian Wong, Songwei Wang, Shunjie Bi, Tsz Ting Angie Chan and Benjamin Bartlett. These projects were produced in the Master of Architecture design studio ANTOUN led by Dr Michael Spooner. The architectural projects hold qualities of the studio characterised by the adjacency to loss, interrogation of care and, the terror of the studio collective faced with their responsibility to another. The studio occupied the haunting fragment of the White U House designed by Toyo Ito in 1976 for his recently widowed sister and her two daughters. After twenty-one years the house was demolished. Conceived to serve a purposeful and deliberate withdrawal the house was never intended to be occupied by anyone else or stand forever. However, the studio was required to furnish a collective life against the speculation that a single wall remained. This journal is foregrounded by single sentences that are individual conclusions to the studio. They are followed by a ‘vanitas’ of architectural models and furniture salvaged from projects before the close of the semester.
A selection of architectural projects has been identifie plars by the studio collective and organised into fou that describe thematic exchanges with the remaining U House – Conceiving the U House, Caring for the being held responsible for the U House, and Life a House.
Each chapter is introduced by a tromph l’oiel co analysis of the selected projects’ plans. The resulting drawings offer a haunting after-image that carries of the remaining U House wall as a common line o Single projects are also prefaced by a vignette that pla chitectural proposition and the expanse of artefacts converses with, against the wall. Collectively the vig visage a ‘dance of death’ threaded along with the U H as it gradually deteriorates. Located throughout the d ‘momento mori’ that reflect upon artefacts of the stud al narratives, and detours into the architectural imag
This document has polished fragments of the semes collectively acknowledge the private conversations, velopment, and studio notes that are not included. Mo can be examined on the instagram @antounuotna After sixteen weeks, we are yet to know who is afraid Woolf.
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Table of Contents Conceiving the U-House
12
One Thousand Cabinets
Georgia Mactaggart & Fanqi Sun
14
Doubleuhouse
Zachary Henderson & Matija Dolenc
20
Of Liberty of Conscience Georgia Mactaggart
26
Antoun Pavilions
Angie Chan & Esther Wong
28
Amnesia
Songwei Wang & Yongyan Jin
34
On Faith
Esther Wong
40
On Fragments
Zachary Henderson
42
Mediator
Shunjie Bi & Clara Ong
46
Constellation of Living
Angie Chan & Yuuki Yang
50
Departure
Shunjie Bi
56
Caring for the U-House
58
Antoun’s Closet
Audrey Adams & Georgia Mactaggart
60
On Eternal Repeat
Clara Ong
66
Determinant
Yuuki Yang
68
Third Perspective
Yuuki Yang
70
Lethe
Shunjie Bi & Yuuki Yang
74
Up-to-date
Yongyan Jin
78
Extremely
Yongyan Jin
80
Fantasy and Reality
Dashun Li
82
On Memories
Dashun Li
84
I want to build a Mausoleum in his memory
Benjamin Bartlett & Matija Dolenc
86
On Holding Out Until The End
Audrey Adams
92
Amnesia
Songwei Wang
94
On Being Selfish
Songwei Wang
96
Morsels en masse
Clara Ong & Yongyan Jin
A Video on Social Media
Shunjie Bi
98 104
Being held responsible for the U-House
106
Horizon Line
Fanqi Sun & Zachary Henderson
108
On 6 am
Fanqi Sun
114
Introspectory
Georgia Mactaggart & Matija Dolenc
116
On the Return of the Wall Clara Ong
122
Stray
Dashun Li & Yongyan Jin
124
On Fragments
Georgia Mactaggart
130
Fourteen in the Vault
Clara Ong & Zachary Henderson
132
On Possession
Esther Wong
138
Our Antoun Desire
Esther Wong & Songwei Wang
140
On Real World Violence
Zachary Henderson
146
Life After the U-House
148
Wine on the Terrace
Benjamin Bartlett & Fanqi Sun
150
Of Significance
Benjamin Bartlett
156
On Walls
Benjamin Bartlett
158
See you in Antoun
Angie Chan & Audrey Adams
160
On Unbosom (Part I)
Angie Chan
166
On Unbosom (Part II)
Angie Chan
168
On The End
Fanqi Sun
170
The Archaeologist
Shunjie Bi & Dashun Li
172
Etching
Matija Dolenc
178
On Absence
Matija Dolenc
180
On Divorce
Audrey Adams
182
Life After the U-House
Audrey Adams & Benjamin Bartlett
184
Conceiving the U-House U-House and required The studio was begun within the courtyard of the with their relentless imaging, alongside the family that once grappled containment, how it could be inhabited. tual apparatus that The weekly instruction of a ‘cabinet’ was a concep potentially intimate and l, familia ive, collect a of opened the possibility occupation. wall, but could hold The studio was a ‘cabinet’ that held the U House could hold out. what to pointed and , against held be could within,
One Thousand Cabinets
The project reflects the principle of the U House, that it holds in its singular purpose against a descent into entropy. One-thousand cabinets echo the need for order.
Georgia Mactaggart Fanqi Sun
The cabinets are made fit-for-purpose; they only hold what they must for as long as they must. The cabinets are a vessel for light to pass through to the studio below and where we are witness to a capricious eclipse in the swing of each cupboard door. At their insistence, our departure will be final.
16
Doubleuhouse
The project is sited at a point of tension between two ideas of the U-house: it as a home occupied by a mourning family, and it as an exemplar house in the architectural canon.
Matija Dolenc Zac Henderson
An effort has been made to break down the integrity of these two ideas of the house – an act of reconciliation through a kind of amnesia. The physical remnants of the wall are preserved, yet the U-house is compounded with other architectural exemplars. Each new addition washes over the others until the project becomes both none and all of these.
22
Memento Mori
Of Liberty of Conscience Georgia Mactaggart
There is an innate response to horror. The mystery, thrill and fear shortens our breath, widens our eyes, and encapsulates our attention. Is it an opportunity to externalise our inner darkness and watch another victim suffer the consequences, in the hope that should befall the same fate we are more likely to survive? The studio Antoun was introduced with a patient’s attempt to escape their illness, withdrawing a brother from life support, along with past studio, taking money, haunting fragments, and alcohol-fuelled cruelty; naturally, this caught my attention. The projects which manifested themselves within this framework unveiled a terror I had not yet defined. A subtle type of terror entrenched within our condition in the studio, hidden in the allusions to the artefacts of a lost brother and in the oblivion of a fabled architectural precedent. The terror was that of a caretaker guarding an object placed in a fit for purpose cabinet. They are held responsible for the length of their shift. But it is also the terror of caring, even for just a moment, I am not yet an architect, but I’ll describe myself as a caretaker for the time being.
27
Antoun Pavilions Angie Chan Esther Wong
This project argues for the continued collective occupation of the U-House. The dexterous new walls are an attempt to hold the legacy of the U-House in the formal tension of a family adrift at the edges. Each pavilion reinforces the rule of the U-House - through mirroring its form and openings. They are an attempt to do better, to “beat you at your own game”. Illusions may be exorcised in the play of refusing to know.
30
Amnesia Songwei Wang Yongyan Jin
36
This is a museum containing fragments from all over the world, but the project cannot accommodate all building fragments. The coming debris is specially treated in the museum warehouse and sent to the pool of the exhibition hall, but the inflow rate of construction waste is much faster than the expansion of the museum warehouse. Previous fragments will be destroyed at the end of the exhibition to make room for new building fragments. Different video clips are also displayed on the screen wall of the rotating corridor,and the windows of the spiral exhibition hall are getting smaller and smaller from bottom to top, which makes them worried that their chances of finding their fragments before they are destroyed are becoming more and more slim, and for those who can’t find fragments in the spiral exhibition hall can go to the museum warehouse through an insignificant small warehouse to find their fragments, It’s like looking for a needle in a haystack. When people begin to recall in their mind, it is like running in the spiral exhibition hall, and each fixed observation window is like that people can only arouse our memories through fixed things, and people are anxious to look for it. In their brain, in the spiral exhibition hall, they are afraid of losing their memory.
1.
Kurt Schwitters: Reconstructions of the Merzbau. Wilhelm Redemann, 1933
2.
Who’s Afraid of Virginia Woolf, Mike Nichols, 1966
Memento Mori
On Faith Esther Wong
Being Brought up in a religious household, it is customary to believe in God, despite a lack of evidence. The concept God holds in all the dimensions is sustained by belief. Peter Bissegger’s reconstruction of Kurt Schwitters destroyed architectural project the Merzbaus, required a similar faith. The reconstruction, despite a lack of evidence of its back, or the many laminations of its construction, the prior versions and the promise of the original’s completion as something else entirely, remains valid. In the film “Who’s Afraid of Virginia Woolf” directed by Mike Nicholes, the characters Martha and George acknowledge what is required to sustain the game and avoid the loss of their entirely imagined son. I believe in God. The value of this concept opens up an opportunity within its ability to impose validity on illogicality because it holds value of its own, its material and immaterial potential - measured not in its completeness, but in the faithful who carry its weight without evidence.
41
1.
Base drawings and brief for Graves’ studio exercise.
2.
Original plans for Flinders Street Station
Memento Mori
On Fragments Zachary Henderson
As part of his teachings at Princeton University School of Architecture in the 1970s, Michael Graves administered a studio exercise which saw students replacing part of E. G. Asplund’s Snellman House with a new guest wing. In his essay, “The Swedish Connection,” Graves notes that: While the villa can be seen as complete in itself, the requirement that the addition be physically connected to it raises the possibility that the villa be considered a fragment, an incomplete condition. The addition can be seen as the completion of the fragment, as its extension or as a new fragment in itself. The Princeton students received a Snellman House missing its single storey service wing, the ‘fragment’ described by the drawings (fig. 1) on the opposite page. The idea that a non-intact building should be understood as a fragment is not without consequence—the implication of fragility forces the author of any potential alteration to confront their attitude towards how, and if, they care.
I think back to the Flinders Street Station design competition commissioned in 2011, and consider the railway station in its current form as a fragment of the original 1900 proposal (fig. 2). The ornate arched roof is at once something that was never built, and something that is lost. Looking at the shortlisted designs, a common impulse among the entrants was to retrieve something of that lost roof, most explicit in Herzog & de Meuron and Hassell, and ARM’s submissions. When dealing with the recognisably nonintact, it seems the image of what is lost has a strong pull. In an Antoun studio discussion Spooner remarked that: Everyone seems to be contained by the kind of ‘U’ of the U House, but you can be a little bit ambivalent about that.
43
Mediator Shunjie Bi Clara Ong
The project is seeking a way to reconciling the dichotomy of the new and old. The insertion of the third mediating the two, assimilates the new and old into a singular matter. A consciousness, buffering the differences through signs in the revelation of the front and backyard. This project is using a neutral way to intervene the idea of being stranded and venturing upon the disengagement between divergent views.
46
Constellation of Living
This cabinet embraces a constellation of living that was disclosed in a gift of architectural fragments that recall the members of this studio Antoun.
Angie Chan Yuuki Yang
The cabinet resides in Sébastian’s garden from the film Suddenly, Last Summer. The mobility of the architectural fragments constructs an apparatus that reflects Katherine Hepburn’s affirmation in the film that: “ Sebastian and I constructed our days. Each day we would carve each day like a piece of sculpture, leaving behind us a trail of days like a gallery of sculpture until suddenly, last summer.” It is a house imagined as Pompeii moments before the ash fell.
52
Grandma's home, Kunming, China, 29/05/2021
Memento Mori
Departure Shunjie Bi
This photo was taken in my bedroom at my grandma’s home in Kunming, China, on the 29th May 2021. At this moment I was still recovering from an injury. Although I did not have a camera I attempted to take some filmlike moments using my mobile phone as I was prevented from doing a lot by the injury to my leg except lie in bed. The days became repetitive but allowed me to read what I could see from my bed in a filmic way. I found some moments of the room were so intriguing that I believed they deserved a ceremonial capture, rather than a phone. I decided to return to occupy the room with my father’s idle film camera. I lived in this room, full of longing to be else where, before my departure to Shanghai. I was offered an internship with a dream office and was looking forward to beginning a new life with new friends in a fancy city. However, the injury prevented me from starting the internship. Instead, I was taken to the hospital. The operation went well, but the doctor sternly told me I should not play basketball again. I don’t think he knew how much the sport featured in my life. The six months of recovery meant I was forced to give up my internship. At home I carried a gypsum case on my leg and swing myself about on crutches. In the photo the crutches lean against a wall. On the right the wall is covered in marks and traces, records of my younger sister's artistic desires. The marks remain after many years, but only now, held in view for so long, can I recall them.
57
Caring for the U-House the U House, attending to The studio took up the role of the caretaker for y of the prior existence. memor some ing the remaining wall, and preserv we hold ‘too closely, too The task entitled a ‘cabinet-cabinet’ demanded that validating our concern tightly’ that which we sought to protect. Rather than care. of al potenti grave the ated illumin task the for the wall,
Antoun’s Closet Audrey Adams Georgia Mactaggart
A temporary cloak room is curated from the remains of fragments of our personal architectural spaces. The building houses a series of elements which fit together to create new abstractions. There has been a diligent attention to the cloaking of specific objects drawn from the remains. Each cabinet is an imperfect fit. The project holds the studio close. By entering, you agree to leaving personal items in the cloakroom for the duration of the studio. We hold no responsibility for your valuables.
62
Memento Mori
On Eternal Repeat Clara Ong
Antoun was constructed through a continuous evaluable of similar tasks. It become a routine to consider the U House with each project, but requires to hold sustained a ritual in the proposal of a cabinet. The first task imagined the U House as an object to protect and cradle. The remaining wall reflected the fragility of the houses beginning, and was something precious and potentially lasting, that required an enveloping cabinet. In the final project, the cabinet become a conceptual device that unfolded the wall as a narrative, confronting both routine and ritual. The fifth project reflected a consideration of the Shrine of Remembrance. The careful transitioning of various architectural proposals held against the continuity and permanance of the memorial, potentially established by the eternal flame. The project attempted to reflect the difficulty of these two ideas held so closely, seemingly resolved, in the monument. The flame is dutifully cared for and maintained by the caretaker, a spectre. The eternal threat of its almost imminent extinguishing embraces the difficulty of the studio as it comes to an end. Image: “Perpetuitas” by Matija Dolenc and Clara Ong
67
Memento Mori
Determinant Yuuki Yang
Toyo Ito recounts in ‘White U’ (Anyone), how his sister had just lost a member of her family and the center of her life. At that moment she desperately needed a spiritual anchor that could hold her pain and be a utopian existence for her isolation. Based on this background, the White U was realised for protection. It was unique that it not only cut off the outside world but also contained an isolated courtyard. Ito’s sister relied on ‘the tube’ – an affectionate name for the house form to share the sense of being a family. She loved the closeness. As time went by, and the children grew up, they all came to be repulsed by the closed form and wished to escape. In the end, the house faced the fate of being demolished. This change in the mentality of the sister determines the length of time that the White U has existed in the world. When the sister no longer needed the protection of the U house, it lost the value of being a container of life as well. In the end they did not wish anyone else to live there.
since the Third Reich: the rotonda, sunken columns, columns with simplified capitals, large amounts of travertine and sandstone. So it even caused certain amounts of disturbance in German architecture and created a great deal of discourse. I thought the building that made such achievements would survive for a long time, but in fact, it has been gradually forgotten after only 15 years. It seems that no matter how valuable the building itself is or how rich and novel the elements are, it will not be the decisive factor for remembrance. Same as White U, we are hold terror to maintain the exist of Antoun. Each member was in this terror while relying on it for a semester. For now, it’s time to leave ‘the tube’.
In the lecture ‘The Art of Forgetting’, Adrian Forty mentions the Neue Staatsgalerie in Stuttgart that was completed in 1984. The new building introduced a set of motifs that had not been seen in German architecture
69
eworthy, eality: ‘It bles are y of the xhibition
anifesto me was ion had al traces hen the he 1989 the folenue to ibits are made for hen the ive is of nsciously g propoative, in act that spaces. and disaccentuderstand en more
Memento Mori
metopes and pediment sculptures in an almost internally correct relationship. The twofold transpar-
Third Perspective Yuuki Yang
In the film, Suddenly, Last Summer, Catherine confessed: “next morning, I started writing my diary…in the third person singular.” I thought about the reason for why she did this, and realised that I have put myself in a third-person perspective to endure sadness for the past year. My pet pug left me forever. The asphyxia only lasted a few minutes, then he fell to the ground and stopped struggling. A second before he was quite excited and wanted to go outside as normal. At that moment, I was preparing for my final presentation, so I just spent one night controlling my emotions and went to class the next day. I tried to keep myself busy so that I didn’t have extra time to miss him, but occasionally I still get emotionally breakdown. He occupied half of my life and suddenly he’s gone. I was afraid of his absence, I can’t stand it. I heard the best method to deal with grief was to situate myself in the thirdperson, so the facts became someone else’s story. I actually did it most of the time and I can now mention his death to my friends normally. These sorts of experiences made me almost believe that I had moved on. However, the fragments of his memory came alive again when my mum reminded me of
the first anniversary of his death a few days ago. In the article “Negotiating absence”, Mari Lending mentions an area for the exhibition of the Parthenon Sculptures need to be built and it will be dismantled when the Parthenon marbles are returned from the British Museum. Thanks to the Parthenon stayed in England, the area was presented to the public as a work of art in its own right. They don’t treat this absence as a pity but as part of the exhibit. The absence of my pug constitutes a part of my current life, like a fragment of memory integrated into the overall architecture. As the third person, I don’t often involve in memories, but they will always be displayed in my life as exhibits.
71
Lethe
This project attempts to understand the loss of the U-House and process of forgetting by those who once occupied it.
Shunjie Bi Yuuki Yang
The cabinet entombs the remaining wall of the U-house in the scaffolding of the studio Antoun. The wall symbolizes sorrow and solitude and that “you mustn’t forget” But the tomb is a reminder that “you cannot remember without have been forgotten before” This tomb grants us the permission to forget, and to share that emptiness.
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1.
Joseph Mankiewicz, All about Eve, 1950
2.
Jose maria Sanchez garcia, Temple of Diana, 2011
Memento Mori
Up-to-date Yongyan Jin
In Joseph Mankiewicz’s film ‘’All about Eve’’, Karen says to Eve at Margo’s party: “Next to that sable, my new mink seems like an old bed jacket.” Will the building lose its need to survive in today’s society because of its old structure, obsolete materials, and outdated decorations? whether the birth of new buildings will eclipse old buildings and lose their value? In the project surrounding the Temple of Diana, architectural practice Jose Maria Sanchez Garcia have attempted to recover the urban space from Roman times. They introduce a contemporary building at the perimeter of the urban volume that is described in an alternating pattern of voids and rooms held by a single elevated platform that liberates the archaeological at ground level. Between the perimeter and the city, a volume in the form of hanging boxes occupy interstitial spaces accommodating commercial and cultural uses. Thus, the project, rather than a building is a raised platform, a floating structure capable of generating a new layer of city full of program. The platform stands at about the same height of the podium of the temple to allow visitors to watch it as they were inside, while projecting a shadow over the square. This way the temple environment gets ‘hierarchy’, making the understanding of the space clear and not interrupted by the particularities of the of the back part of the existing buildings. In the contemporary urban environment, the absence space like Temple of Diana is given value, the modern architectural strategy promotes the historical fragments heritage more.
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1.
Fallingwater House, Frank Lloyd Wright, 1939
2.
Villa Savoye, Le Corbusier, 1929
Memento Mori
Extremely Yongyan Jin
The Fallingwater House, Frank Lloyd Wright. Wright wanted to create harmony between man and nature, and his integration of the house with the waterfall was successful in doing so. Wright integrated the design of the house with the waterfall itself, placing it right on top of it to make it a part of The Kaufmanns’ lives. But there is no doubt that the consequence is that every year during the flood season, the water from the stream will pour into the house, causing dampness, destroying the floor and making it uninhabitable. The Villa Savoye, Le Corbusier. In order to reflect the architectural concept of his 5 points of architecture, Corbusier omitted necessary columns in the garage. This caused the curtain wall of the roof unevenly transmit the load through the floor slab to the columns that do not directly correspond to it. This gradually violated his adherence to ‘Diagonal Grid’ system. The
flat roof also caused extensive rain leaks. Mrs. Savoye complained: “It’s raining in the lobby, it’s raining on the ramp, and all the garage walls are flooded. What’s more, it’s raining in my bedroom too.’’ In both cases the architectural exemplars have faults that have led to the deterioration of the building, the constant need for maintenance and an attempt to perpetually sustain the architectural image of both buildings. For Toyo Ito’s White U-house, the perpetual upkeep of the U-house is the burden to entire family. White U-house is an isolated utopia during their hardest time, the house belongs to themselves forever. They chose demolish White U-house for a new life, it’s time to leave the tube. Potentially we could demolish both Fallingwater House and The Villa Savoye examples and maybe, just maybe we might remember them.
81
1.
Whos Afraid of Virginia Woolf, NICHOLS, 1966
2.
Giada Showroom, New York,U.S.A,STEVEN HOLL, 1987
Memento Mori
Fantasy and Reality Dashun Li The film “Whos Afraid of Virginia Woolf”, directed by Mike Nichols, is a tale of the consequence of manipulating the division between fantasy and reality , played out in the intimacy of a small party. The party was never meant to be fun. It begins with a neurotic conversation and ends with a brawl. The host reveal in brutal sarcasm, and the calm anticipation of the madness. When the character George hears the conversation between his wife Martha and guest Nick, he angrily picks up the umbrella umbrella, and pretending it is a gun, shoots at his wife. The shooting may seem like a joke, but it is a response to George and Martha’s long-running disharmonious life. At the same time they maintain their marriage through long-term fantasy of an imaginary son. Live in fantasy and escape from reality. My studio parter Yongyan and I were shocked by this moment. The film uses an illusory and playful approach to prop out the boundaries between fantasy and reality. We sought an architectural equivalence to this prop umbreall-gun. The Giada Showroom by Steven Holl offered a postential propo. All the furniture, interior elements and architectural qualities are meaningful and unique. It was in our furniture that we sought a different meaaning that could sustain the gun-umbrealla apparatus found in the film. We extend the furniture out of the walls and blend in with the illusory walls - creating a unique connection. This approach gives feedback on our boundaries between reality and fantasy, as well as our unique expression.
83
1.
Kurt Schwitters, Merzbau, 1933
2.
Kurt Schwitters Merzbau 1933, reconstruction by Peter Bissegger 1981–3
Memento Mori
On Memories Dashun Li I use to live in my grandfather’s house before it was demolished. I don’t have any pictures of it, just memories of my time occupying it as I grew up. I shared this idea with my colleague Esther, and my grandfathers house reminded her of a favorite restaurant which she liked to go to as a child. We attempted to draw these two memories together from evidence of the buildings we could source online, and from what we could recollect as we conversed and shared our experiences. The difficulties in this process of reconstructing from ancedotal evidence is reflected in the attembts to envisage the lost Merzbaus construction by Kurt Schwitters. While the reconstruction recalss the interior of this architectural space vividly, beyond what is in the photos canont be recalled and the construction is either supposition or left epty, exposing the partality of the construction. The partiality of our project - the vague dimensions of the old house and more defined memories of the furniture from photos established another memory. This memory is a reflection of our intimate conversation, and the prvate world we imagined.
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I want to build a Mausoleum in his memory Benjamin Bartlett Matija Dolenc
The project is an attempt to understand the indifference to and inconvenience of loss. The affirmation “I’m fine” is held in the archetype of the mausoleum, but our unease in its faithfulness is realized in the uncanny slippages of the mausoleum’s’ openings, drain-pipes and veranda. Our responsibility for the architectural fragments of our peers in Antoun is captured through the interior that expresses the difficulty of holding another. They writhe in the interior and struggle against and through the envelope of the Mausoleum, and causes the drainpipe to cross the aperture of the window. But all is fine.
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Task 2 A Cabinet-Apparatus: Digital model of bedroom fragment
Memento Mori
On Holding Out Until The End Audrey Adams I have been confronted by the demand to hold, to be held, being held too close, too much, too tightly… Throughout the studio I had the responsibility to reflect the closeness and value of ‘the object’; fragments from my bedroom, a Nivea bottle and the light fittings from Georgia’s bathroom. I obtained them with a desire to hold them close in the face of loss. I am both the caretaker of these objects and the cared for. Individual tasks demanded the delivery of a cabinet, in each instance hyphenated; a cabinet-salon, a cabinet-apparatus, a wall-cabinet, a cabinet-cabinet and a grand-cabinet. The cabinet is an apparatus that gathered the momentum of the studio. The cabinet was always the studio. It was what held us together. Similar to the act of holding an object within the apparatus, I have reflected on the experiences throughout my degree and hold them tight. I find myself strangely greeted by the same sense of fear I experienced at the beginning of the semester. In the ballot Spooner made mention of a last studio. I consider this to be a parallel to the final acts of his brother’s life, of his own becoming and the final stages of my education. This was my final studio before I begin to undertake my major project and I am holding out to cross the finish line.
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Suddenly, Last Summer (1959), directed by Joseph Markiewicz
10 SANNA Sejima and Nishizawa 1994
Memento Mori
Amnesia Songwei Wang
In the film “Suddenly Last Summer”, Catherine has always been troubled by the cause of her husband’s death, and those relevant memory fragments have always appeared in her mind, just as the sound of the special flute always reminds Catherine of these fragments. Sadly, Catherine has been tortured by these memory fragments, and she can’t forget or find a complete memory, because she has lost her memory, But that pain is complete. In our design, fragments from all over the world are transported to this transfer station, but because the capacity of the warehouse is limited (even if its volume is amazing), those previous fragments will be destroyed. This is like in our life, we will be constantly exposed to new things. Those things that happened in the past will be fragmented and gradually forgotten due to the limited capacity of people’s brains. Even if people find those fragments from all over the world in the ‘transit station’, they will only struggle because they can’t recall the complete
memory. No matter those tourists who find fragments or those who do not find fragments, they have permanently lost those memories. Therefore, this building is not a “lost and found office of memory”, but an “amnesia exhibition hall”. In the precedent, 10 Sanaa inspired us to reflect that new fragments are constantly sent to the building through huge warehouses and a continuous stream of trucks to transport goods. The building Amnesia Exhibition Hall was afraid that it could not hold all the fragments, and the tourists were afraid that they would miss them, just as Catherine was afraid that she would never think of those memory fragments again. Unfortunately, the building will eventually destroy those fragments that cannot be accommodated. People will eventually miss the fragments they are looking for, and Catherine will never remember her lost memory. Just like the emotion we always want to convey in Anton Studio, we are always anxious and struggling for those uncontrollable and unknown things. Unfortunately, we can’t change them in the end, and they are still happening...
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Dr. Strangelove (1964), directed by Stanley Kubrick
H Architects, Planell Civic Centre, 2016
Memento Mori
On Being Selfish Songwei Wang In the film Dr. Strangelove, all Dr. Strangelove does is that he can realize the task entrusted to him by his former head of state Hitler. In this film with the background of the cold war between the Soviet Union and the United States, everything is because of Dr. Strangelove’s personal ideas, which is more like a game dominated by him. He doesn’t care about everyone’s life in order to achieve his goal. We also got the same inspiration in another film “squid game”. It is also because a rich old man wants to hold his own game and completely ignores the lives of others. The precedent planell Civic Centre inspired us. We noticed that in this triangular building, H architects “roughly” divided the building into different spaces through several straight lines (it is well known that we should be very careful when dealing with the triangular space, otherwise some acute angle spaces will bring people a very poor spatial experience), This reminds us that architects are also rule makers, who can formulate the spatial order of buildings and the spatial experience brought by buildings to people. This is the architect’s responsibility for himself, which is the embodiment of selfishness. In our transformation of u-house, we have created many sharp angle spaces and some seemingly incomprehensible space orders, which will bring some inconvenience to the users of the building. For example, the students of the new building (Antoun Studio) will have to endure the crowded environment and some unpleasant light and shadow, but we still claim that this is responsible for the former u-house. Actually, this is selfishness in architecture. Just as we follow Michael’s rules of the game in Antoun studio, we use architecture to interpret the fears that people don’t want to face. But in fact, each of us has a very different design, because we all claim to be responsible for Anton studio. In fact, we are only responsible for our selfishness.
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Morsels en masse Clara Ong Yongyan Jin
The project encircles the physical form of the U-house wall in layers – from the shroud of sheet on its bodice to the supporting architectural fragments scattering along the perimeter of the wall. The emerging assemblage of architecture none more dominant than the other are bound to the responsible act of protecting the wall, contesting between the conditions of the studio and in turn the U-house oversees the architecture. In the terror of being responsible for the paradox border conditioned to hold the architecture, the U-house unyieldingly constrains us to the site. An overly wrapped parcel — is what this is
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Royal Exhibition Building, Melbourne, Australia, 03/12/2018
Memento Mori
A Video on Social Media Shunjie Bi
It has been six months since my injury. Yesterday, as I scrolled through social media, I could not continue to avoid the basketball video content. I was attracted to the background of one video. It was the basketball court in Carlton Gardens, one I had always played at when living in Melbourne. The court was occupied by a Chinese player framed as they played basketball by the trees, stands, basket and atmosphere I remembered. From behind my screen I imagined that I was the Chinese player in the video. I arrived in Melbourne from China with a basketball so that I could go to Carlton Garden to play after class every afternoon. I remember how lovely summer was in Melbourne as I picked my sports gear and made my way to the court from Swanston Street cutting along Queensbury and through the inner city suburb of Carlton. But, this was a memory, and I was at home in Gejiu a town I was born and that playing basketball would no longer be part of my life. My leg injury is a constant reminder of a joyous life in Melbourne. Every time I walk the faint pain felt on my achilles unlocks the urbane environment of small houses and discreet streets between home and the court, encouraging me to pause and remember.
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Being held responsib
le for the U-House
The stuff of our weekl y explorations – a col lection of valuables and alike – are held within detritus the embrace of the wa ll as it bends to form gave the house its nam the U that e. The wall-cabinet atte nded to the studio, and to each other, and to are not content to wa those we lk away from.
Horizon Line
Three blue-stained wall segments are all that physically remain of the U House, however the perimeter of the courtyard continues to exist as an organising force in the project.
Fanqi Sun Zac Henderson
An intensity in the floors, walls, columns and ceilings scrambles around horizon line, the space where the courtyard wall was. These architectural elements inadvertently become responsible in carrying a memory of the U House, like the ghost of a demolished building recorded on the party wall it once touched. The project raises the question: how do you hold something that is so overwhelming and no longer there?
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Carlo Scarpa, Museo Canoviano,Possagno,1955-57
Memento Mori
On 6 am Fanqi Sun
Woke up in a daze, a difficult glance at my phone, 6 am already, it is time to get up. Washing my face, wearing my hat, grabbing a cup of coffee, deep breathing, it is time to join the class. 3-hour time differences with my partners, chaotic time calculations, missed messages and communication. I feel like I’m living in another space. I was fed up, but I couldn’t leave. All I can do is accept it and try to make this unstable and disordered condition looks as normal as possible. In the film “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” directed by Stanley Kubrick, the character Jack D. Ripper who is the example of extreme dislocation of word and meaning, as he believed the ridiculous rumor, and makes orders leading to confusion. The dislocation also manifested in the missing messages and actions between the pilots of B-52 Stratofortress and the War Room. Looking to the discourse of architecture, the project Carlo Scarpa’s Museo Canoviano in Possagno was articulated dislocation, not only in the slippages between fore and back ground plane, the building massing and wall as well as material changes; but also the shifting narrative: how the space within the tiny extension of the new gallery is experienced. Standing in the Entrance Hall, the dislocation is represented by the separated threshold of the old 19th gallery and contemporary understanding of the sculptures, the narrative merged between these two spaces.
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Introspectory Georgia Mactaggart Matija Dolenc
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This studio is held in the disquiet that has followed the U house’s demolition. This project is an attempt to describe how what is lost can be forgotten again. The passage down from gallery to studio reflects our conviction, and the studio’s departure from the formal and material properties of the U house. But our landscape carries an essence of our grief towards an immeasurable horizon.
French revolutionaries destroying a monument pried from the top of a plinth The Fragile Monument, The Space of Conservation by Thordis Arrhenius
Memento Mori
On the Return of the Wall Clara Ong
The essay ‘The Fragile Monument, The Space of Conservation’, it expresses the idea of conservation and destruction during the french revolution where ‘the criteria of preservation listed presents a shift towards the establishment of a ‘modern’ notion of heritage that will distinguish Revolutionary discourses on conservation.’ The unilateral action of the revolution called for the wholesale destruction of the prior establishment, but it almost instantly called for a program of conservation that could record the valuable repercussions of this destruction. In the studio, the remaining wall of Toyo Ito’s White U House occupies the position of a revolutionary moment, a fragment of a prior thing re-established as a mirror of something no longer existing. In this studio the wall is conserved, but the implications of its conservation are reflected in our occupation of it. The wall reflects the plinth in the image adjacent. The empty plinth points to the absence of the horse, but is itself, without something atop, an object that records and monumentalises the revolutionary act that removed the horse. It is a fragment and embodies a fragile state that could see a potential restoration.
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Stray
The project is an attempt to guide and reveal the hidden U-house within everyone
Dashun Li Yongyan Jin
From a wall, a window, you can only see hypocrisy and superficial things through the cracks in the wall, but the real structure needs you to go deep slowly. You can see it through the cracks, but you can’t touch it. Forward? Or backward? The desire for truth is a step forward, and only by moving forward can you find it.
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1.
Candalepas Associates, Punchbowl Mosque, 2018
2.
Mike Nichols, Who’s Afraid of Virginia Woolf?’ 1966
Memento Mori
On Fragments Georgia Mactaggart
Formwork is the term used to create a temporary mould into which concrete is poured. The formwork is removed to reveal the shape that will endure. In the essay “Mosque Concrete”, Adrian Curtin details the construction of the Punchbowl Mosque in Sydney by architect’s Candalepas Associates. The grand concrete structure heavily depended on meticulous formwork. Curtain explains that the prayer hall took a “full day to pump the volume of concrete into the complex geometry of the mosque’s interior formwork.” He describes the arduous task of cleaning and polishing the domed formwork every day to secure the highly finished surface. This attention to detail was reflected in the setout of joints that would appear across the surface of the mosque, and the moderation of the lines impact by a and the moderation of the lines impact by a seemingly impossible 2mm tolerance between each plywood section of formwork.
events, set in to place by mutual agreement (either explicit or implied). Then it is up to the individual’s interpretation as to what is acceptable behaviour within those parameters. In Mike Nichols, Who’s Afraid of Virginia Woolf? (1966), the lead couple Martha and George (played by Elizabeth Taylor and Richard Burton) by consensus create a space in which their fictional son is formed. They assume the role of parents that observe and interpret the actions of others, creating a unique maternal and paternal devotion that sustains the child’s illusion. This constructed relationship dissolves once their son ‘dies’, but the violent affection they have maintained for each other suggests they are incapable of anything else. This ruinous collapse of both form and formwork prompts Martha to admit to being afraid of Virginia Woolf.
The concept of formwork for construction can be used as a metaphor for developing relationships. Parameters are defined and determined in the context of the day’s
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Fourteen in the vault
This project enshrines relics attributed to fourteen architectural fragments in a cabinet apparatus.
Clara Ong Zac Henderson
The horde of artefacts are laid to rest within and are all accessible, albeit from an oblique position. An assemblage of orange-coloured replicas of the original fragments are gathered alongside any documentary record of their existence. An unsettling realisation emerges when immersed in the apparatus: despite being so close, absolute comprehension of the original fragments remains forever elusive.
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Memento Mori
On Possession Esther Wong Carlo Scarpa’s Museo Canoviano exhibits the close task of holding possession of both the architecture and the art. Scarpas’s relentless pursuit of the detail went further than just the architectural properties of the building. The layout of the artwork and its selection he also considered part of his mandate. This innovation establishes a very specific museum, one that is an exhibition of the work of the sculpture Canoviano, but also Scarpa’s conversation with the artefacts of the collection. Across this conversation it establishes Scarpa’s attitude towards the museum within his design thinking and not outside of it. Scarpa precisely unfolds from the existing building to his extension moments where the architecture and sculpture share, enfold, intersect and reflect the intimacy of Scarpa’s own imagined conversation with Canoviano. This is demonstrated through the sculpture of the three graces that he positioned with their back to a window and rotate them in such a way that the viewer is able to revel in the contrapposto embrace of the three figures. Another illustration can be seen when the figurement sculpture is being placed laying down horizontally which matches the threshold of the steps, mimicking and foreshadowing an intimate bond between the architecture. Scarpa’s possession of both the architecture and the artefacts contained within establishes the potential difficulty of any future amendment to the collection or the architecture, given that they now take ownership of holding one another intimately, therefore one can not live without the other. Once it becomes fixtuated between the two. When a new edition is added in, one will need to sacrifice and enforce its own extension to hold the other without transposing the already dense curation that upholds its manifestation, the purposeful bond created between the two can not be unbind.
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Our Antoun Desire Esther Wong Songwei Wang
The Cabinet-Cabinet wall upholds every Antoun member’s contribution to Antoun studio. Originally, we claimed that we hold ourselves accountable for every Antoun member’s memories as well as the whole u-house. It is through our growing selfish desire that we restrained ourselves away from the original purpose to solely prioritize the enjoyment of being predominantly responsible for Antoun’s gallery. In return we are left with a delightful gallery, a moment longed for. Leaving the rest uncared for. Through being responsible in return comes a time of exchange where we seek the need to satisfy our own personal needs.
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Memento Mori
On Real World Violence Zachary Henderson
I want to take look back at an Antoun project by Angie Chan and Ben Bartlett. In the context of the studio, the manner in which they dealt with the U House proved to be something of a revelation. One decision in particular—a new doorway cut into the concrete wall—begins to reveal the authors’ attitude towards the fragment they inherited, as well as the studio exercise more broadly. The rough edges of the new opening records the work of the (imaginary) power saw, a seemingly unceremonious act of violence that takes place where the U House gets in the way of the new addition. There’s a sense that the wall fragment has been conceived of as something that is palpable, something that has a vulnerability. This project presented an opportunity for everyone to reflect on the work undertaken so far in Antoun. Through grappling with the physicality of the wall fragment, suddenly the U House shifted into being something that was real and present. A question contended with throughout the semester became even more confronting—if the real-world U House were to be subjected to something you proposed, what then? Image: “Regulatory (un)love” by Angie Chan and Ben Bartlett
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Life After the U-H
ouse
The family that inh abited the U House grew tired and resent and moved on. ful of its closedness The architect overs aw the demolition from his balcony nex The demand that the t door. studio occupy the remains and our ob wall has ended. ligation to the The grand-cabinet
was an attempt to
hold out in the fac
e of this end.
Wine on the Terrace Benjamin Bartlett Fanqi Sun
The project attends to the idea of the U-house, and the studio’s relationship to it. Having been demolished before we are able to experience it in person, we grapple with its meaning to us, to Toyo Ito and to the family it held. The pavilion holds moments of the U-House, unrolling and dissecting it, measuring ourselves against it to better understand it before it is taken away. The understanding of the U-House wall is only revealed where the studio members come together for the wake, our collective relationship to it allowing it to be seen one last time, making us all responsible for it. I want us to be together when it happens
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The River Pavilion, Fairfield by Paul Couch
Memento Mori
Of Significance Benjamin Bartlett In the beginnings off the studio Antoun, we were proffered an image of a tea cup that Spooner had received among his brother’s belonging: a piece that had no meaning or value to him beyond his brothers love of it. The River Pavilion at Fairfield Park by Paul Couch is a public precinct composed of 3 levels: a riverside amphitheatre and adjacent concrete workshops, a covered pedestrian area at street level, and a vertically exaggerated canopy. In 2020 the City of Yarra Council marked the River Pavilion for demolition. A campaign to protect the building and precinct ended their plea with: At the very least, if all our attempts to prevent demolition fail, relocate the rooftop pavilion structure rather than putting it in a bin. Buildings should not be disposable. The appeal for an imperfect survival presented the canopy as a gesture that had the potential to be read as comprehensive, even when removed from the building and landscape it was responding to. The plight of the River Pavilion reflects the tea cup, in that it speaks to our responsibility to others, to the artefacts of communities and lives that are not ours. The concession to give up the base of the pavilion is not about choosing what you want, but what you are willing to give up to salvage a fragment. you have the option to keep or get rid of whatever you want, so you need to be specific about that - Spooner
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On Walls Benjamin Bartlett
The walls of the bedroom I grew up in are a work of art, a teenage impressionists reflection of time and agency. Posters, photographs, printouts and paintings were affixed by blobs of blu-tac, in defiance of my parents wishes that I preserve the walls. The paint tear and oil stains from the tyrannical viscous blobs were a quiet act of rebellion. A friend worked at a cinema and for $20 would save me the oversized promotional wall coverings that I would rotate on my bedroom walls, marking the ultimate expression of my agency as I hammered in the pin hooks needed to support their weight to the wall while my parents were out one afternoon. When I moved out of home and began to disassemble the last exhibition on those walls, I was able to see in full the effect of years of curation. Peeling, hiding rips in the painted surface under new installations and the sun bleaching of paint composed a final and penultimate work of art I was charged by my mother with the task of correcting the wall, back to the original pristine condition. I remember the horror of watching the evidence of my time in that room disappear as I sanded, gap filled and painted the walls. ` I’m reminded of Georgia Mactaggart and Fanqi Sun’s project, One Thousand Cabinets and how the U-House wall that they imagined would be demolished at the conclusion of the projects fictional occupation. As they wrote: they hold what they must for as long as they must
Memento Mori
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See you in Antoun
‘See you in Antoun’ is sited on the remnants of Georgia Mactaggart’s and Ben Bartlett’s project from week one. We, the authors, are the understudy to our early work.
Audrey Adams Angie Chan
The prior project is occupied with misplaced fragments of the U House. The existing objects are positioned aside, furthering their absence within the new framework. Our performance within the studio is fleeting and we leave behind moments from presentations captured as physical objects. We leave fragments of Antoun to remain as our legacy, to be observed, to be replaced. Our legacy is held within the discourse of the studio. Our project holds an uncovering of our terror and is left for the next understudy to inhabit.
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John Hejduk, The Cathedral, 1996
Memento Mori
On Unbosom (Part I) Angie Chan
The Studio, Antoun is bound by a virtual enclosure defined by a geographical territory that spans from Australia to China to Singapore. This small world will be disclosed in the digital windows of Instagram and end of semester exhibition. Next to the four project images is the disclosure of our thinking in four crafted sentences. The remaining wall of the U House bear two sides that are both interior and exterior. The location of existing windows and doors allow views from one side to the other. There are these tension against the wall when looking or stepping through, whether encountering from the inside or outside. In John Hejduk’s speculative project The Cathedral, a series of architectural element are located through, against and hung from a wall that describes the periphery of a single chamber. Hejduk perceived these elements as moment of angels passaging through this wall. The wall disclose the moment of this impossible passage, and the element draw light further into the cathedral. The U House wall’s disclosed thresholds enable to hold us in, hold us out, and be held against.
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“The Thinker”statue outside the Cleveland Museum after the bombing event
Memento Mori
On Unbosom (Part II) Angie Chan
In the essay, “leftover I Was Open” an anonymous writer confesses to the bombing of Auguste Rodin’s “The Thinker” outside the Cleveland Museum. The author reflects on the decision and implementation of the bombing, and deliberates on the Museum’s decision to present damaged work of art unchanged. The author points out “the gesture [of the bombing] cannot be so easily contained... [as the bombing] “had become a historical artifact”. After serving U House’s purpose to hold the family of Toyo Ito’s sister following the death of her husband, the demolition is itself recorded, imagined from the inception of the house as the only conclusion. While Rodin’s sculpture still stands where its base and leg denoted the force of the bomb, no part of the U House remains. Yet U House’s absence is itself an event, historicised, so any account must hold both the life it serves and the final swing of the wrecking ball. As the author of the essay states, the act of bombing in fact“completed [the statue]”. This studio, Antoun establishes the last remaining wall of the U House and in turn reflects the museum’s Rodin returned to its plinth. However, the wall is not returning to maintain the illusion of the U House. It returned so we may take aim.
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Eduardo Souto de Moura, Carandá market, Braga, 2001
Sir Basil Spence, Coventry Cathedral, 1962 (original Cathedral 14th Century)
Memento Mori
On The End Fanqi Sun
The U house was demolished. Bastille Prison was conserved in the manner of its demolition, and the occupation of its ruinous structure. Fragments of the demolished Berlin wall are regarded as mementos, to celebrate and remember the end off the Cold War. The end can be distressing, but it does not dissolve our embrace.
shell with only the tower and its spire still standing in the Battle of Britain. A new cathedral was built at right-angles to the ruins, intended to preserve the ruined shell of the ancient cathedral as an integral part of the overall modern design. Both of them were not overremembered and acknowledged their passing, moving on to the next stage.
However, in the film “Melancholia” by Lars Von Trier the world is faced with an apocalyptic end. As that day approached, the character Justine says “The earth is evil, nobody will miss it, we don’t need to grieve for it”, as her sister grew anxious and uneasy.
The end of U house is there, an end without return. U house does not exist in enclosed form anymore, emotional repression was broken up, only wonderful memories are expected to be preserved. Don’t be grieve for that, their family will not miss it. The only value of the U house is letting it progress toward the end.
The project of Carandá market in Braga by Eduardo Souto de Moura removed the original market roof, while the pillars were kept and a garden created, resulting in the appearance of ruin when the disused market closed as a result of suffocation from the surrounding programs. The Coventry Cathedral suffered a firestorm leaving it a virtual
It’s the time for a new start, for U house, for ANTOUN, for us.
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The Archaeologist
This project is trying to excavate the mineralized U House as a relic from the soil.
Shunjie Bi Dashun Li
This cabinet stands as a shelter to conserve the relic beneath, the wall is excavated on site because “artworks could only be understood in the contexts in which they had been produced”. The shelter is a world regards U House as a relic, offering a reverence, and another world buried in the U House site remaining miraculous. This project perpetuates U House without the existence of U House.
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Memento Mori
1.
Carbonized portal, Pompeii
2.
Shadow of Hiroshima, Unknown
Etching Matija Dolenc Here, where the lifeless walls Of shadows sink, is not a garden of flowers, but a reliquiary of final moments Homes hollowed by instants Of sudden departures Here we lay in Inexorable cold Blues and magentas Colour our feebleness Walls hold whispers Shadows of Hiroshima You can hear them Cracking the concrete The lament of bitter rusty rebars Shivering in loss What to do with the canvas Of our own demise? We will transform these walls Into our crucible
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1.
Courtyard wall, U House, Toyo Ito
2.
Shelters for Roman Archaeological Site, Peter Zumthor
Memento Mori
On Absence Matija Dolenc The remaining wall of the U-House enclosed a courtyard of grass without any interruptions, no plants, water, barbeque or hills hoist. The closed U held by the thickness of the living spaces of the house appear to echo the absence from which the house was initially imagined. But in one photo the owners two young children navigate the edge of the void, the image capturing them just as they depart the camera frame at velocity. Peter Zumthor's project for a building to shelter Roman archeological ruins, is designed to echoe the original volumes of the three lost roman villas. The two timber enclosures embrace the edge of the ruin, the wooden slates establishing a datum between the remaining low rock walls of the villas, and the imagining of their decorous scale. A skylight above allows the passing of the day to mirror the passage of time observed in the vetrines of small artefacts of everyday roman life. Both the photograph of the U house and the architectural qualities of Zumthor's project are burdened by the loss of those things they attempt to grasp. But they offer an outline of an architecture that acknowledges what it cannot attain.
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Portrait with Imaginary Brother, Willem De Kooning, 1938
Memento Mori
On Divorce Audrey Adams
Dear Ben, Our project haunts me. Our collaboration paralleled that of George and Martha in the film ‘Who is afraid of Virginia Woolf’. The U house felt like their imaginary child. George and Martha turned their bitterness into a source of diversion. We were inevitably exposed to the failure of our week three project. I remember constantly expressing that: “I hate this project, I never want to see it again.” But this became the point of our enquiry after our initial presentation. Similar to when George pushes Martha to hysteria in the final act by exclaiming their son is dead, I was no longer able to cling to the fabrication of having created a successful project.
He is constantly pointing to the thing that is lost, yet that also does not exist for us as students, a phantom brother. As I reflect, our original project exhibits a sense of failure, uncovering … regret. I can fain blissful ignorance, but you would catch me lying in the final act. Through our confessions we were finally content. We closed the cabinet on the project and rebuilt our failure. Like George, you pushed me to confront the ‘lie’ that was so integral to my identity and the studio. See here Ben, it was worth it, for this moment here … And with that, I am divorcing you, Ben Bartlett.
Perhaps you could draw a connection between this feeling of exhaustion and that of Michael receiving yet another box of his late brother’s belongings.
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Life After The U House
The project is a reflection on how we live on, go on, and the fear of failing in our attempt to do so.
Audrey Adams Benjamin Bartlett
The cabinet emerges in the time that follows the demolition of the U-House. Its role as a house for mourning and contemplation complete, a life is encouraged elsewhere. The architecture attends to the initial temporal occupation by considering the ruins of both the U-house and the former failed project iterations. The new project revels in the meeting of ghosts from all four projects and an interior haunted by happenstance. After.…I swear if you existed I’d divorce you.
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Who’s Afraid of Virginia Woolf?
ANTOUN
