The video tells the story of a day spent at the Centre for the Arts from daybreak to nightfall, demonstrating the building's permanent effect and the changes that have occurred around it. With this on-site reflection, the concept at the origin of this collection of videos is reinforced. Such a concept argues that time, the structure and its space are the elements that define the photographic act itself and the manner of showing the actual architecture. To look at a work is above all a voluntary act and one of critical selection. Only afterwards, can we actually mover closer and situate ourselves in relation to it. Even if never absolutely domina- ting the view shot, the photographic eye is always and above all the realisation of a particular way of seeing.The photographs of this book are a visible part of a personal register that seeks to be an instrument for understanding reality. From my experience at the Centre for the Arts, I have retained the constant surprise and emo- tion of one who discovers a new work. What remains are the memory of the unexpected angles, the cut of the volumes against the gloaming landscape, the frames resting on the interior light, the strength of the texture and richness of the stone, the confrontations between the opa- que darkness and transparent light of the glass. The lasting sensation is that in some of these images everything seems to have prepared itself to be photographed, as if the Centre for the Arts were waiting for a glance that would recog- nise and reveal its pose. Perhaps this is simply a furtive glance of one person's short stay in the Centre for the Arts. I hope to return shortly. Fernando Guerra Architect and Photographer

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