Why would someone choose to concentrate on the tone of this voice? Not so much because the moment of its enunciation is of special significance to the history of contemporary architecture, but rather because in Derrida’s oeuvre the question still remains open as to the moment when someone speaks in order to articulate an obstacle or to give an “end” to something which is being shaped. Actually, I would like to talk about a secret that has to do with the texture of the Derridaian decision. When, how and from whom do I draw the right to raise obstacles? At what moment am I entitled to seek an “end”? How intensely am I entitled to promote the rupture? And in order to explore the depth of this secret, I will concentrate on the Irvine voice; this voice could be offered as a paradigm which would be given by Derrida himself; indeed – as I will try to explain – this may have been a particular paradigm.