Takes as a starting point Hans Sedlmayr's comparison of the progress of modern art with the progress of mental illness (Verlust der Mitte, 1948), and discusses psychological anthropomorphism in architecture since the French Revolution. Concludes that "the motifs of the broken, the semi-finished, the shaky and the scratched become allegories of human existence and, indeed, describe a feeling of being deeply affected by the world as well as, at the same time, of having an effect on the world."
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