The Work of Matthew T. Marco and the Spazowham Design Group

After the presidential elections of 2000 and 2004, I became acutely aware of how voter fraud and suppression are perpetrated and how the simple process of tallying a majority can get so damn complicated. I don’t doubt that it happened again yesterday, that there were places where voters were intimidated, places where good citizens were confused for felons, places where the vote just didn’t work. And I don’t doubt that it will happen again. I fear this is just an inherent assumption of the millennial voter.

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While my visits to California aren’t rare, my two-week stay last winter has been the longest since I moved away, enough time to expand my itinerary beyond family and close friends to not only to visit with past acquaintances but, with some, to also superimpose physical, spatial relationships over evolving virtual relationships, adding dimensions of tone and motion to the plain text of emails. Enough time to not only gorge myself on the late-night fast food of my inner fat kid but to also pilgrimage to the Salk Institute, to deliver red velvet cake to the ailing, to dance at Harvelle’s on a Sunday night. To not only retrace a Los Angeles past but to discover the Los Angeles present.

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I had tried, or I should say, I am still trying and writing and researching and conversing and attempting to construct a narrative that somehow casts the activities of my European vacations and the months between as myth and metaphor, a microcosm of the improvisational information architecture, anomalies of sociology, and decline of western civilization in the first decade of the 21st century. Given the pretentious mess that promises to be, this chapter of my pop-music autobiography may be the closest thing to a straight narrative of my week’s sojourn in Brussels and Paris, 11-19 November 2006, I might extract from that unwieldy text.

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With as much consternation as there’s been about the dubious connection between the ‘creative class’ and recent ‘urban renaissance’ (and the consequent gentrification that follows irregardless), has there been any consideration given to zoning in this debate? While developers build condominiums with hesitant and ornamental ‘industrial character’ like a decorative sprinkle of cheap paprika, the prospect of inhabiting a residence with authentic industrial character is surprisingly daunting here in Washington because, lo, though they appear to be charming brick rowhouses in a Victorian style, they happen to be founded on land zoned ‘light industrial’ and therefore are not for residential use.

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