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Hybrid Orange Strategies
At a certain moment, someone stated that orange was the new black. But maybe it is a new white? At least, orange certainly confuses the mythology of white as an equivalent of abstraction.
But is orange less abstract? Painters would say no. Colour symbologists would say otherwise. Perhaps. Yet – apart from uncannily contextual reasons – orange is, in this house, also a provocative device that ends up stressing and mediating and promoting what is not so obvious in contemporary production.
Think.
What may, ultimately, no longer be so obvious to architectural functional “analphabets”? The emotional force of the cantilever, the ironic memoirs of French movie-auteurs, the twisting of reality/landscape to fit the artificial architectural frame, the impact of the pure gaze, the expression of viscerality.
Gibberish, in fact. Aesthetic pleasure in reverse. Or maybe not. ………………… After all “else” has become aestheticized, aesthetic pleasure certainly has to come with a twist.
And so maybe that pleasure is the anarchic pleasure of subverting rules – a subversion which only those who master the rules can truly achieve (And of course I solely mean those glorified engineers known as ”architects” as opposed to “builders.” But if an erudite example is required just remember that column that doesn’t reach the ground under bonjour tristesse)
If you produce the unnamable, then you get away with crime. If your cantilever – or your concept – doesn’t fit the categories that legislations find fit, than maybe you can just get away with it. And subversion saves your project from just being other object deformed and amalgamated by convention. Legal and otherwise.
One of the latest Pritzker Prizes, Paulo Mendes, would say that you have to create problems in order to solve them. Welcome problems.
shrapnel contemporary 