Berlin transfert is an open experiment. An architect working in Berlin—conrad-bercah—reads the work of some Berlin colleagues he finds intriguing: Arno Brandhluber, Kuehn Malvezzi, Bruno Fioretti Marquez. The operation can be read as a transference sui generis with respect to architectural form because it is generated by an explicit confrontation with what remains unsaid in his colleagues’ work. The transference seeks to clarify the latter’s non-explicit cultural meaning and to highlight its still unexpressed potential according to the model of the philosophy of Feuerbach, who considered philosophy itself nothing more than the ability to develop and rework ideas produced by those who had preceded him. The transference also generated an atlas of aesthetic ideas that seeks to give architectural form a new form-of-life, renewing it. Neither the transference nor the atlas were preconceived by the author, who found himself with no other means to free himself from the ghosts and Warburgian pathos of the images that remain the true romantic and disturbing puppeteers of the experiment. The latter revealed an urgency that can no longer be postponed: the need to discuss the contemporary architecture’s need to embody different temporalities and to be late for the appointment with the ideology and rhetoric of the moment but on time for the only one that matters, namely to disregard any notion of style in order to dialogue with time through arabesques of temporized forms capable of giving testimony on the question of time—a testimony capable of re-appropriating, without camouflage, the ruins of history that live in kairos and not in chronos.
