(Concrete Irregularity) takes as its reference the work Living Cells (1991–93) by the Israeli artist Meir Eshel, also known as Absalon. In the original project Absalon designed six small buildings which were planned to be constructed in six different cities around the world (Paris, Tokyo, New York, Tel Aviv, Zurich and Frankfurt). These buildings were meant as possible places of habitat, in which the artist sought to have a nomadic and isolated life. In “Living cells” Absalon proposed tight spaces, a sort of tailored dwellings where the architectural space constrains human movements and shapes daily habits.
In Concrete Irregularity the original geometric austerity proposed by Absalon is transformed into a new structure. The Absalon’s buildings become into a new complex monolith where the original structures collide at the centre of the space, and a black blocks sequence seeks to give clues about the origin of the images. Concrete irregularity suggests a series of mental spaces on video by using 3D rendering engines to project and seamlessly incorporate sculptural / architectural models into video footage of real spaces.
In this project I propose a dialogue with Absalon’s work in order to reflect upon his concern about modernist architecture.