Just as we look back in horror at the lives of people five hundred years ago, I imagine people five hundred years from now will laugh at us and our certainties today. They will laugh at how we let our money and our jobs define our lives. They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything. They will laugh at our rituals and superstitions, our worries and our wars; they will gawk at our cruelty. They will study our art and argue over our history. They will understand truths about us of which none of us are yet aware. And they, too, will be wrong. Just less wrong than we were.

Taking architecture seriously therefore makes some singular strenuous demands upon us. It requires that we open ourselves to the idea that we are affected by our surroundings even when they are made of vinyl and would be expensive and time-consuming to ameliorate. It means conceding that we are inconveniently vulnerable to the color of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread. At the same time, it means acknowledging that buildings are able to solve no more than a fraction of our dissatisfactions or prevent evil from unfolding under their watch.

Architecture, even at its most accomplished, will only ever constitute a small, and imperfect (expensive, prone to destruction, and morally unreliable), protest against the state of things. More awkwardly still, architecture asks us to imagine that happiness might often have an unostentatious, unheroic character to it, that it might be found in a run of old floorboards or in a wash of morning light over a plaster wall — in undramatic, frangible scenes of beauty that move us because we are aware of the darker backdrop against which they are set.

Only the search back to the origins of one’s ideas in order to see the real arguments for them, before people became so certain of them that they ceased thinking about them at all, can liberate us. Our study of history has taught us to laugh at the follies of the whole past, the monarchies, oligarchies, theocracies, and aristocracies with the fanaticism for empire or salvation, once taken so seriously. But we have very few tools for seeing ourselves in the same way, as others will see us. Each age always conspires to make its own way of thinking appear to be the only possible or just way, and our age has the least resistance to the triumph of its own way. There is less real presence of respectable alternatives and less knowledge of the titanic intellectual figures who founded our way.

Just when you think that you thought that the guys in Billy Talent partied and did coke and had sex with all these hookers, we actually talk about architecture and, eh...history.

The world of architecture – and of works conceived for architecture – tends towards beauty. True beauty tends towards ugliness and panic.

History, if it has taught us anything at all, has taught us that the strange ideas we deride today will one day be our celebrated truths.