Author Archives: Ariadna Barthe


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Booklet Finished!

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Booklet Spreads…

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No more models for today, my hands are full of blisters! auch! I’m planning to spend the day finishing the booklet, and being in the green room, with Joel, giving the final touch to the slab  smashing paper clip.


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Fragment of Time/Lapse

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Smash Podium

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While Rendering, producing some more images, just to support the argument for the booklet!


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Updated Animation…

Still work to do… but getting there!

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Update – Animation

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RE-CON Booklet.

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In between animations, working on a 180×180 Booklet with all material, ideas, questions complied for the Jury. Right now, I just trough all images on In Design, missing text…

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The quarry of Fun


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This is how the cast look like after 2 hours digging, should I still cast in bronze? I’m going to film the entire process of 2 hours removing the foam, and make  a Time-Lapse of 2′ that I will play on one of the screens. 

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Launching the Family!


Family all together..Right now even the Mather is almost getting out of his foetus!

The other ones waiting to be conceived!


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Mies, Rem, Capri, Tramuntana, Alabama…

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Casting the Moment…


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4.30 in the morning…Pipilotti Rist with me…

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Blue Foam 3D Model ready to CNC tomorrow at 10.

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To be cast on Friday Morning… With white light grey Plaster…

and become Monuments of Transient Architectures…

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RE-CON Presentation

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Three screens two models…

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key worlds [provocation] [aggressive] [site-specific event] [hallucinatory ride] [anxious age]

Adam Curtis and Robert Del Naja saw Britain in 2013 as a repetitive, twee playpen which infantilised its subjects. So they decided to do something about it. In a disused factory in Manchester, they built an enormous, three-dimensional cinema within which Del Naja and his band Massive Attack could perform, while Curtis built a film around their performance. This combination of film and gig (“gilm”, apparently) would shock people into realising that the world was not as they saw it. That the cycle of fashions, music and a culture of “entertainment” were not the empowering agents of individualism they pertained to be, but were in fact tools of a deeply conservative philosophy which, by urging us to obsess about the past, leaves us unable to imagine a future which could be in any way different.


In relation to Cedric’s work, relationship of architecture to culture and change, a project for the masses, a filed of human potential, a cultural launching pad!!!



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Launching the Palace

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Mesdames et Messieurs…

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Interview with Samantha Hardingham

Answers to be transcript.

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Cedric Price:Technology Is the Answer, But What Was the Question?

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Music by Pink Floyd

Location [ L.A ]

The final sequence from Zabriskie Point by Michelangelo Antonioni is very much a visually mesmerizing meditation on destruction and beauty, imagination and revolutionary action. The movie does not agree with any of the offered positions, neither of the radical students nor the “bourgeoise establishment”. This sequence stands like a bold and richly ornamented question mark at the end of the movie_ THE DAILY PSYCHEDELIC VIDEO 

Antonioni, one year ago:

“Technology forces people to adapt to it, rather than adapting to people.”

Same with architecture!

“Technology forces ARCHITECTURE to adapt to it, rather than adapting to ARCHITECTURE.”


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[The Unbuilt] ACT I

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To visit in L.A


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Los Angeles’ architectural history buildings in Blade Runner, (the film utilizes such historical Los Angeles buildings as the Bradbury Building, Union Station and the Yukon Hotel for several of its most important scenes)…We could go an visit them,…



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Film First Attempt Ready to be Seen…

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Before destruction

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Plan of Fun Palace materialised with grey plaster cast. Ready to impact on unbuilt paper projects.

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22 Oct/Tutorial/Presentation

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The Fun Palace is the smart phone of the sixties, because as much as the iPhone dematerialises the way we interact today, the Fun Palace dematerialises Architecture.

Just as  Fun Palace dematerialises Architecture in 1963, Cedric intuitively exposes the obsolesce of paper projects by setting up fire and recording the disappearance of Palace.

As much as Kubrick’s chimpanzees in 2001 Space Odyssey fear the appearance of the anonymous back monolith, today unbuilt paper projects should be scared of the materialisation (concretisation) of the Fun Palace.



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Building Up The GROUND for the UNBUILT to sit



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Joan Littlewood scripted and directed a film publicising the fun Palace. A model was specially constructed for the film and it was Cedric Price’s wish that it be destroyed during the filming. The photograph shows the model during, filming/destruction.

My Recon focus on two main ideas extracted from my interest in Cedric’s Price Fun Palace

Temporality in Architecture/ Built vs Unbuilt / The re-contextulaization of Cedric’s Film by me on Tuesday 22 in the Photo Studio, you are all welcome to assist. From paper to the most relevant {PAPAER} today, Media, Film!

Dematerialisation of Architecture in our current days of  digitalisation / A CONCRETE  Slab from a FRAGMENT of the plan of Fun Palace Plan is going to be use to DESTROY the UNBUILT projects of the unit agenda, and hopefully, the event will end up generating the NEW GROUND FOR THE UNBUILT  PROJECTS TO SIT. 

Right NOW, I see the recon as a film projected during my presentation, with 4 screens\projectors, showing the different points of view of the event that I will generate re/contextualizing the destruction of Fun Palace. On Tuesday I will do a small scale test of the performance.

I’m not telling what’s going on during the show,because there will not be surprise\reaction!

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Today, TATE, towards a reading of Mira Schendel, incredible artwork
and installation… From now on, the three-dimensional matrix of the Fun
Palace has become a five-dimensional order…

Mira activates space thought an investigation of the void and
transparency. The spectator is positioned between himself/herself the
nothing and her art work; floating independent objects that combine
text and image. By occupying the space of the spectator, they don’t
required to be viewed from a specific point of view; in fact you are
able to read trough their transparency, becoming reversal or
“anti-text” pieces. However, the most interesting fact is that “while
pursuing transparency as an issue, she arrives to the object” (1)

Which makes me be extremely critic within the way Cedric addresses his
obsession of creating a space, which is continuously capable of
adapting to ever-changing new social configurations. Because, in order
to do so, he ends up creating a human-machine interface, driven by
cybernetics, which in one hand reduces the architecture to a machine
for “life-conditioning”(2), and in the other hand avoids one of the
most significant human experiences, the built environment, which
consequently makes me question myself two main things, on the first

How architecture should react, or which is the new built form of
architecture, which suffers the effects of the impact of continuously
emergent digital technologies in our everyday lives?

This is one of the reasons the Fun Palace has never been consider a
building, not even for Cedric, which defines his proposal as
Anti-building, a space where human bodies become data, used to give
in-puts, and exchange information with the machine, becoming
instruments of social control,

And on the second place, if we re-contextualize the Fun Palace to the
present day, where Internet, smart phones, and a wide range of new
technologies are available and familiar to everyone, which is the
equivalent of the Fun Place? Big Brother?

Are these technologies as the same way as the Fun Palace wanted to be,
used for human liberation, participatory democracy, and free choice?

1.      Leaflet text by Tanya Barson
2.      Cybernetic Theory omd the Architecture of Performomce: Cedric

Yes, I know!!
Who could have tell me, that going to the TATE to see rice papers
floating in a room could mess around my mind that much!? haha…

In term of the RECON, I’m still working in this
installation-diagram-matrix, an open ended field of questions, which
will be address sharply along the year…

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FUN [3Dimensional Matrix] PALACE

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The Sendai Mediatheque suggests that, in an increasingly dematerialising milieu, the physical space of encounter that architecture provides still has meaning. 

It is the architecture itself that deserves rethinking under these new condition. 

Unlike Cedric Price, who in the mid sixties imagined the fun palace as an ever changing, ever moving kit of possibilities, Toyo Ito does not turn away from architecture or  dissolve its physicality but instead revises and enlarges its capacity as a social technology under modern condition of modern drift.  Stan Allen plus two words by Me.

Listening to Kraftwerk, Die  Mencsh Maschine! Perfect to get into Diagrammatic Madness!


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