My First impression: Omg she looks like Kahlo!….isn’t she??!
House No 49 for Ordos:
Even though this is not my favourite project of hers my question for Friday would be about her experience and participation at the Ordos 100. Watching the documentary Ordos 100 this project is actually similar to our brief.( also recommended_ I found it fascinating to watch 100 architects from all over the world to gather for one project. )
(sec 6:39 Architect Sharon Rotbards from Babel Architects in Israel talks about the Ordos 100 as being the “Exquis Corp” of Architecture(!) )
Architects randomly were given the site they had to design (reminds me of Natasha in the beginning of the Year…..
I love the second image where each individual architect tries to put his own insertion to the “continuum” .
Thoughts and Questions:
How was the experience to design a house in this context? or a house without any context because it is in the desert? What was special about building actually a new city? this very first step of a new city…..Architects are used to have some form of restrictions that guide their design, where in Ordors it seems to me like working in a vacuum.How resistant a lot of Architects are to that chaos?Were you able to share thoughts and ideas or everyone had to do its own thing?When you started your design did you have in mind that you were part of something bigger?The whole process must have created preliminary questions of what is house and what is Architecture… How do you design a house especially a villa for a client that you don’t know, you don’t know who is going to live in?there is no 1 to 1 conversation to know what he wants. A villa to me is something very private and usually villas are custom made with demanding clients….
I like when at some point at the documentary some architect says Ordos is like a zoo, wild and surreal.
Does anyone know what happened to Ordos 100? I was trying to find online what happened but I couldn’t find a clear answer… some villas were built no?
Going back to Frida’s work….
What I loved about the following three projects is that each of them visually or not uses in a way movement as a way to question either a building ( La Tallera), a pavilion (You know, You Cannot see yourself so well as by Reflection) or an installation (The Civic Stage).and as a result to activate the space. In this way she draws parallels between the real and the fiction, architecture and theatre. She manages in very poetic way to make fiction very real and architectural.
La Tallera: this is a nice example that shows with only one smart move you can change the whole function of a space, turning it from private to public. From house to gallery. Sab it might be interesting for your project..how to use and move from your 2D drawings to 3D space of the pull pin.This inflation deflation from 2d world to 3d…. Maybe its stupid but thats what comes to mind now.
You know, You Cannot see yourself so well as by Reflection
“The whole idea was about this notion of wearing a mask,” “This is an appropriation of a space and it changes the face of the space temporarily, like a mask. And that generates different characters, just like in theatre.”
The Civic Stage
“in real life as in theater, acting is a prerequisite. and yet, somehow, the creative freedom provided by performing on stage is somehow tamed down when acted out in real life. it is this condition of fiction — the reading of a theatrical performance as a moment detached from reality —, which allows for theatrical experiments to be so radically groundbreaking. but understanding that theater is as real as life, and acknowledging that the language it uses to communicate — visually, audibly, emotionally — with an audience, is the same language we use to understand each other in reality, why isn’t real life the stage where we can act out our desires?”
“what happens if a real-life public stage, a civic stage, is suddenly unveiled in our cities? what would happen if we re-frame the tamed reality of public space into a theatrical site of exchange were can collectively perform our aspirations? would fiction become real life and vice versa?’ – lisbon triennial 2013