Ernesto Oroza Workshop

Technological Disobedience, Architecture of necessity, Moral Modulor, Moire house, Objects of Necessity, Generic matter, ...

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Architecture of Necessity
The city’s inhabitants are aware of their real needs, driven by the inevitable, they transform their city under a new order: The Moral Modulor. He embodies the human potential to understand urgency and inscribe it in space. He adds, to the order established by human dimensions, the moral dimension that necessity recovers. Urgency provides for the individual a foundational alibi. Every sexual or physiological impulse, every birth and even death, will provoke the appearance of new walls, columns, stairways, new windows or plumbing and electrical systems.
Form follows Necessity. The modified houses of Havana express this relationship.  It’s an Architecture of Necessity.

Open my blog www.architectureofnecessity.com/in a new window.

Architecture of Necessity on Facebook


"Since necessity plays a central role in the generation and regulation of this kind of architecture, I associate it with natural forms known as stalactites and stalagmites, where the shape is the result of a fluid movement of materials attracted by gravitational force. In this popular architecture, the irrepressible movement of materials also produces a grid of lines and holes, a superimposition of layers and structures that, just as in the natural process of sedimentation, are supported one over the other. This fluid movement responds to a strength as powerful and unavoidable as gravity, the force of necessity.”
Ernesto Oroza from For an Architecture of Necessity and Disobedience, 2006.


He lived with his mother in a space that was so small that it couldn’t legally be considered a house. He expanded into the hallway, built a kitchen and refurbished the bathroom. He changed the status of the property and acquired a title for it. He got his hands on a permit to build on the roof, as he thought about moving out on his own. In order to do this he had to build an exterior stairway. He set to work on the structure indoors and started the paperwork to divide the property. The appearance of an exterior stairway before the process of dividing the house was finished could be considered a violation, and he could be fined or even lose all property rights to the house he had built.

He understood that the description of the house and its parts depends on the cultural understanding that we have of it, that laws depend on this understanding.

Then, what is a stairway? How does one describe it? Could he build a structure in front of his doorway that looks nothing like a stairway but serves the same function? Maybe just objects stacked in such a way that one can climb and descend them? Or an object by Ettore Sottsass, a stack that includes all of Feijóo’s books, a Franz West sculpture, anything?

He decided on a conceptual shortcut: he built the stairway and waited to be fined. In this way, he gained time. The Law demanded that he cease building the stairway until the paperwork needed to divide the property was finalized.

Years went by. He used the unfinished stairway.

What’s a finished stairway?


Vivía con su madre en un espacio tan pequeño que no podía considerarse, legalmente, una casa. Amplió hacia el pasillo, construyó una cocina y mejoró el baño. Cambió el estatus del espacio y obtuvo un título de propiedad. Consiguió un permiso para ampliar la vivienda en la azotea pensando independizarse. Al hacerlo debió construir una escalera interior y comenzar los trámites para el desglose de la propiedad. La aparición de una escalera exterior antes de tiempo podía considerarse una infracción y podía ser multado o perder el derecho a la propiedad de la vivienda que había construido.

Entendió que la descripción de la vivienda y de sus partes depende del concepto cultural que tenemos de ellas, que la aplicación de la ley depende de dicho concepto.

Entonces, ¿Qué es una escalera? ¿Cómo se describe? ¿Podía construir delante de su puerta un objeto diverso de lo que creemos es una escalera, pero capaz de brindar la misma función? ¿Algo cómo... materiales almacenados de tal manera que puedes ascender y descender sobre ellos? ¿Un objeto de Ettore Sottsass, todos los libros de Samuel Feijóo, una escultura de Franz West, cualquier otra cosa?

Decidió tomar otro atajo conceptual: empezó a construir la escalera y esperó ser multado, ganó tiempo, la ley le exigió detener inmediatamente la construcción del objeto hasta que legalice el desglose. Pasarán años. Mientras usará una escalera inacabada.

¿Qué es una escalera acabada?

 

Razor machine. Statement of Necessity. 2004
Silkscreen, 70cm x 50cm, Edition of 50.


 

Stools at Ludwig Foundation. 2005 (with Pol Chaviano)
Collected doilies, cardboard and paint.

 

Read more...  

Little Havana Lamp shade. 2008
Milkcrate, cut.

<<click on the image for more views>>
{slimbox single images/objects/oroza-little-havana-lampshade.jpg,images/objects/oroza-little-havana-lampshade.jpg, Little Havana Lamp shade. 2008; images/objects/ernesto-oroza-lamp-detail.jpg,images/objects/ernesto-oroza-lamp-detail.jpg, Little Havana Lamp shade. Details 2008;images/objects/ernesto-oroza-lamp08.jpg,images/objects/ernesto-oroza-lamp08.jpg, Little Havana Lamp shade (orange). Edition of 20 for Name Publications. 2009}

 

Provisional canape (5/white). Corcoran projects. 2000
Founded metal bars chairs and monobloc plastic chairs, metal bars.
<<click on image for more views>>

{slimbox single images/objects/ernesto-oroza-canape-provisional-2000.jpg,images/objects/ernesto-oroza-canape-provisional-2000.jpg, Provisional canape (5/white). Corcoran Projects. 2000; images/objects/Ernesto-Oroza-sofa-2000-2010.jpg,images/objects/Ernesto-Oroza-sofa-2000-2010.jpg, Provisional canape (5/white). Corcoran Projects. 2000-2010; images/objects/ernesto-oroza-provisional-canape-2000.jpg,images/objects/ernesto-oroza-provisional-canape-2000.jpg, Provisional canape (7/white). Corcoran Projects. Drawing 2000}

 

Chair. Model, 1994


Model: Juan Bernal, Photo: Manuel Piña

 

Provisional sofa. 1996

 

Provisional vase 1995
Bottle, cut.

 

Provisional Hand bag, 1995
Wide bottle, necklace, fabric.

 

Provisional canape (2/red). Corcoran Projects. 2000
Founded metal bars chairs and broken monoblok plastic chairs, paint.

 

 

Hoy en "Habalndo de Espacio" y para hablar, entre otros temas de: "arquitectura de la necesidad" estará como invitado Ernesto Oroza. A partir de las 10:00am hasta la 1:00pm en "Habana Radio". March 23

 

CCE Miami presents Proyecto Habitar
From Oct 16th through Nov 25th, 2009
Raúl Cárdenas / Torolab. White Noise. 2001. Still
Opening reception: Friday, October 16th, 2009. 8:00 p.m.
Location: Centro Cultural Español. 800 Douglas Road, Suite 170. Coral Gables, FL 33134
Dates: From October 16th through Nov 25th, 2009
Curator: Luisa Espino

Liberty City

Since the sixties, cities have changed at a dramatic pace. This has been due in large part to real estate and financial interests, disconnected from collective needs. This deep restructuring has affected both demography and socio-economic configurations. The quality of life within each growing sector of the population has been compromised.

At the end of the Twentieth Century, while some neighborhoods deteriorated, others regenerated socially via occupation by the upper class and so generating a rapid rise in the economic value. Every year, more and more people are displaced from their homes because of abandonment of neighborhoods, land expropriation and re-zoning, rate rises and costs that outstrip salaries. The constant pressures of urban decay, land speculation, the establishment of ghettos, the influx of international migrants or the homeless from neighboring regions makes as essential review of our ideas of habitability.

A group of artists has rallied against these situations, fostering a counter culture where contemporary city decadence is approached from different angles. They challenge housing problems, the use of public space, land speculation, urban settlements on the fringe of legality, enforced desertion of neighborhoods and buildings, urban decay and the formation of ghettos. They demand a new approach to homelessness.

Individual and collective artists such as Raúl Cárdenas/Torolab, Santiago Cirugeda/Recetas Urbanas, Democracia, Gean Moreno, Ernesto Oroza, Juan Carlos Robles and Todo por la Praxis, illustrate the following cases in Madrid, Seville, Miami, Tijuana and Havana.

Gean Moreno and Ernesto Oroza. Tabloid. CCE Miami. 2009
En un momento en el que las grandes ciudades de los países desarrollados compiten entre sí por convertirse en iconos de modernidad y sus autoridades invitan a conocidos arquitectos a diseñar edificios emblemáticos, está teniendo lugar en paralelo una Arquitectura de la Necesidad o de Emergencia en manos de personas que no detentan grandes estudios de arquitectura, pero a los que las circustancias les han llevado a convertirse en improvisados arquitectos.

Esta exposición reúne varios ejemplos que, aunque distintos y geográficamente lejanos, tienen como denominador común dar visibilidad a construcciones llevadas a cabo por sus propios habitantes, a menudo de manera caótica, en contextos en los que la realidad social ha relegado a un segundo plano la organización reglada que dicta el urbanismo. Situaciones y procesos, en la mayoría de los casos espontáneos, que con el paso del tiempo han dado lugar a verdaderas tipologías en sectores que carecen de servicios sociales y de abastecimiento básicos.

Los artistas y colectivos Raúl Cárdenas/Torolab, Santiago Cirugeda/Recetas Urbanas, Democracia, Gean Moreno, Ernesto Oroza, Juan Carlos Robles y Todo por la Praxis, han dado imagen a algunos casos de Madrid, Sevilla, Miami, Tijuana y La Habana.

Activities at the Cultural Center of Spain are sponsored by the Spanish Agency of International Cooperation to the Development (AECID), Miami-Dade County Department of Cultural Affairs and Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

Schedule is subject to changes. All activities have limited seating. For more information, please visit www.ccemiami.org
Centro Cultural Español
800 Douglas Road. Suite 170
Coral Gables, FL 33134
Ph: 305.448.9677

 
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