Fiescold's proposal for a "Counter-Triad" called for a rejection of the Classical pillars of architecture, which Fiescold claimed were no longer capable of connecting humanity with the impending and horrific realities of the out of control Anthropocene. y changing the architectural narrative of order to better align with an already active cultural shift towards higher-dimensional thought, architects would be able to lead the world towards replacing the malignancy of a complaisant (or third-dimensional) perception of dwelling with a cosmic (or nth-dimensional) one.
As architects begin to confront nth-dimensional cosmicalities, embracing a counter-Vitruvian outlook would allow all architectural inhabitants to better grasp their full scope: utilizing the Unstable (instabilitas) as an alternative to firmitas would expand the reach of “place” to better catch and communicate higher-dimensional hyperobjects through either physical transience or temporal variability; the Inimical (adversitas), as opposed to utilitas, would replace the emphasis on performance by users to performance by entire structures and systems, and by doing so create architecture with meta-purposes above the strictly anthropic; and the Uncanny (perturbitas) would, through funhouse-mirroring or Xray-visioning, in a sense, reflect the beyond-human qualities of the built-structure and its occupants— qualities such as snaking fourth-dimensional shadows (both backward (birthward?) and forward (deathward?) in space-time) and the strange entanglement of human-made objects and future object-made humans.
Little is known of the enigmatic architectural theorist and amateur mythematician
Thane Fiescold who prefaced his passionate, nigh-raving, personal treatise— "The Counter-Virtuvian Triad: An Architectural Bestiary"— with a simple, ominous one line proem:
"Now is the time to fight monsters with monsters."
Fiescold's theories were picked up by several artists of the time period, most notably the Russian pop designer Alesci Nehtdof, who claimed that his Counter-Virtruvian chair, "The lnstabillite," had actually fallen from space and that it would whisper to him when no one else was around. He professed that the chair had said to him that, 'I am from the void, I care not for Up, I care not for down — I strive only for sitting.' Despite his cult popularity in the art world, Fiescold's philosophy would not b e put into practice in the architectural world for several decades after his supposed death
But back to Jackass Flats...
The government of the United States, as part of the Green New Deal passed by congress in the year 20XX, entrusted a one-time grant, including open access to Area 25 of the Nevada National Security Site (also known as Jackass Flats) in close proximity to Yucca Mountain, to a religious order designed to emulate the "atomic priesthood" proposed by the semiotician Thomas Sebeok in 1984. Here, this Order— officially named the Presageric Order of American Nuclear Anchorites, but commonly referred to as the Sebeokeanasticalists— were expected to construct a temple and maintain their society as independently as possible. It is the governmentally mandated responsibility of the Sebeokeanasticalists to communicate the dangers of the waste stored in the nearby nuclear waste repository until the year 12,000 CE.
Today, the Order is a somewhat secretive and arcane sect that nomadically roams the desert as they continue to perform their religious-civic duty. It is believed that the Temple to Perpetuity that the Order constructed was designed to echo the teachings of Thane Fiescold— it wanders the sandy bluffs with inimical purpose, an unsteady monstrosity with no set site whose scale— both physical and temporal— is an uncanny reminder of the minuscularity of humanity.
Still those, the question remains— what is happening within that imposing sphere? What unknowable rituals are the Sebeokeanasticalists performing as they hide away from the rest of the world?
Should we be afraid? Was Fiescold right to call this architecture a "monster?"