Recently and largely by accident, the field research of historians and others in the science of humanities has brought back to the attention of the public the existence of some paintings, writings, works of architecture and other materials long forgotten and thought lost. These works have stimulated the formation of small, club-like enclaves of like-minded persons called bohemian demimondes, who have more or less secretly taken upon themselves the project of reconstructing one or another art discipline. Our studio was such a bohemian demimonde.
The task to re-originate the effects of Jonathan Lasker’s paintings in architecture, while relying solely on a limited archive of knowledge seemed clear. Kind of… Jose Oubrerie’s Miller House deals with the fragmentation of the nuclear family by allowing multiple semi-autonomous realms within the dwelling’s enclosure, which are united by an apprently urban model of shared ‘public’ space.
John Hejduk’s Wall House 2 is also about separation: floating volumes compartmentalize the dwelling into distinct functions; the house as assemblage of effects, their uniqueness heightened by the dramatic act of passage through the Wall’s thresholds. Flipping the plan into a section? Nice move!
Villa di Divertimento (House of Fun) blends the two together with Lasker’s Conspicious Absence (or is it Domestic Arrangement ?), ponders domesticity, plays with figure-figure arrangements, ground multiplication and displacement, and rhymes with notation, faces, eating, and sex.