10 Flying the Contemporary Minds

Outside on the street, the feeling is cold. All architecture was not about all other architecture. Architecture out there on the street no longer mattered, unless it was wearable, spectacular and grand.
“The most important influence on us as schoolboys in the 1980s,” the San Antone Ham said, “was the film ‘War Games’. Ever since then we knew the world was alterable.”
“And forget the Flying Dutchmen and Ground Zero,” the Vegas Ham said, “I remember Pnom Penh as a child.”
The sale of hand-stitched cowboy boots suddenly shot through the glass ceiling. Shards fell across the new outlet village, designed much like the old outlet village, only distorted.
“These boots are really going to do some walking,” The Neon-striped Professor said. He’d just bought his own pair and was trying to walk them in.
The Professor had a tough time herding his students. Ranching didn’t come easy. The rodeo was not part of his bio-data.
“There are many fine studies of new architecture,” he said, “and many of them suggest ways of understanding how architecture is attempting to incorporate change.”
“Speak English,” the Hams said, “we do nothing else but incorporate change in our lives today.”
“Isn’t that what we’ve always done? Longing to find an architectural expression in step with our time?”
“Imagine living with advanced developments of the epoch and see what you’d come up with!”
No one was listening. Aerodynamic form and nature theory were the last things in their heads as they began to fly the contemporary mind.
This is what they called it: flying the contemporary mind. What was it to them that they could be responsible for a representation of contemporary fascination?