The Piano Tuner

Anna Barseghian & Harutyun Alpetyan, Swan Lake
In the framework of the project "Architectural Meetings" of the Youth Club of the Union of Architects, a meeting with the chief architect of Yerevan Narek Sargsyan took place on March 15, 2012, at the Cafesjian Center for the Arts. The architect presented his own vision of the future of Yerevan and the activities of the organisation which he founded. The meeting was attended by a group of young architects, students, representatives of NGOs and civic initiatives as well as activists concerned with the architecture and future of Yerevan. Harut Alpetyan's observation/question was among the questions addressed to the architect at the end of the meeting. By calling Narek Sargsyan's architectural projects examples of totalitarian architecture, Harut Alpetyan recalled Medvednik's film "New Moscow", arguing that if Medvednik shot the film at this time, then such examples would most likely be in the foreground. "I do not disagree. Such an impression is well possible. Perhaps, it is even true," answered Narek Sargsyan and then asked, "Are you an architect?" "No, I am a piano tuner." "In that case, I can easily overlook your term of totalitarian architecture because if you were an architect and would tell me that, I would really reflect on it. But if you are not an architect and you feel that way as a citizen, then you find totalitarian not only my architecture but also that of others." "I would not say that," answered Harut and continued by asking Narek Sargsyan to comment on the issue of public participation in the decision-making processes of urban solutions, after concluding his speech about urban projects. To this the architect responded that there were sadly no mechanisms which enabled communication with the public.
It was the above-mentioned episode which prompted Anna Barseghyan and Harut Alpetyan to create an alternative architectural performative intervention with pianos at the Swan Lake. There is supposedly no need for a long explanation to reveal the mimetism behind the pianos tuned on a single note and placed at the square. The deeply provocative open invitation calls the passer-by to the pianos. And if you even know how to play, you can share your skills with the public. Whereas the piano tuner knows that "there is no mechanism which enables communication with the public."