ABSTRACT
Scares and Squares II' explores this proposition further in a journey through the rather loosely defined genre of utopian and dystopian fiction that begins with Thomas More and ends with Saramago. The city of the novel speaks like a character and the drawings masquerade as spacetime literary adventures. Architects and planners with religious conviction herald the dawn of a new sensibility. Architectonic form must be reduced to a single formal law limited to geometrical cubic forms. The majority of architects has simply abandoned all hope and retreated into an infantile game of history plays in which nothing is true. Utopia is discredited, at least those associated with an alternative to the capitalist city. Imagine all of the great cities of the world, Paris, Berlin, Rome and Madrid similarly encapsulated in a glass and iron bubble.
