Clusters of building, agglomerated evidences of irrelevancies with context fed into a Xerox machine, extraneous to the environment (textum) yet perpetuating an opportunist condition as an authority, a monopoly of a context which is that of an irrelevancy that purposefully makes sense to create conditions of its own: banality.
A diagonal opposition which evades the logic of negativity (inversing the domination) at the same time that it defies submission and thus maintains constancy in opposition would be not indifference but inverse-difference to the environment. If every object passes different types of forces, and generates its possibilities as well as actualization based on the affect space that these forces enmesh over and through it, modifying the type of forces and their designation would ensue a new reciprocation to the environment. The deployment of forces that define the totality, the context and the assemblage of House No. X leads to an inflection or connection by influxes, a point on a curve at which the tangent crosses the curve itself, creating a site of autonomous inwardness. Here, the twist from the banality of the surrounding –the inverse-difference-is taken place by running the process of building through inflection, the event of endless inwardness, not interiorization. Inflection is neither an essential singularity near which, functions exhibit extreme behavior which neither manifests as a pole (polarity of functions or extremum) nor a removable singularity (contiguous to its primary function). The object of inflection is not of extremum (here or there, left or right, core or surface, forward or backward); it is external to the logic of coordinates, building a cavernous movement whose every turn is a point of return to the inside. Gravity (domination) is not at stake here because inflection deals with vectors of a curve which determinate the axes in oscillation around it, consequently, the object of inflection flees from weight (becomes weightless) not by escaping gravity through counterpoising it but becoming irrelevant to it. Inconclusively, inflection in House No. X realizes an autochthonic world where the formation of the building is from the place it is found or it originates, and vice versa. Cosmocrafting itself according to an autonomous inwardness, the object as the building of inflection populates between dimensions (an inter-dimensional Xanadu) or it is without dimension, in either case, it is a self-contextual explosion along vortical bends. It existentially registers itself as an auto-event, installing the outside on the inside while closing inside upon the outside in an attempt to create a plenum external to its surrounding spatium. The self-context cosmology of inflection is the genetic element of an active object which cuts across the passivity of indifference and the reactionism of difference to generate an inverse-difference out of which outside is propagated infinitely and inwardly, creasing over and over in the manner of wet-folding in origami until producing a mass whose depth transforms to concrete thickness or concentrated fullness, a self-context which is not self-referential but autarkic by means of inflecting outside (reto-openness) rather than closure. The opposition of House No. X emerges from this retro-openness to its outside, an outside that includes the surrounding (the environment) and what the environment cannot assimilate (the Outsider space), vorticity is the quality of this retro –openness and inward diffusion is its dynamism. To this end, the process of bringing the materials together (orchestration) in House No. X is determined by squeezing, wrapping endlessly, creasing within and over creases, compressing into each other, shoving upward and downward, pressing out from the sides, staging all processes that bring together through the dynamics of forces risen between materials and masses, yield and stress, nonlinear elasticity and flow plasticity: an architectural forge-press.