House for a street junction

“ In front of a window, viewed from inside a room, I placed a picture representing exactly the piece of landscape hidden by the canvas, so the tree depicted in the painting hid the tree that was behind it, outside the room. It was simultaneously, to the viewer, inside the room, in the painting, and outside, in the real landscape. Thus, this simultaneous existence of two different spaces was similar to the existence, at a time in the past and present, of an identical moment. “ “ Frente a una ventana, vista desde el interior de una habitación, coloqué un cuadro que representaba exactamente el trozo de paisaje oculto por el lienzo, así que el árbol representado en el cuadro escondía el árbol que estaba detrás de él, fuera de la habitación. Era simultáneamente, para el espectador, dentro de la habitación, en el cuadro, y fuera, en el paisaje real. Así, esta existencia simultánea de dos espacios diferentes era similar a la existencia, en un momento del pasado y del presente, de un momento idéntico. “ In 1976, the architect Juan Navarro Baldeweg was awarded with third prize in the Schinkenchiku Residential Design Competition, organized by the magazine Japan Architect, whose brief comprised the design of a “House for a street junction.” The project designed by Navarro Baldeweg considers the concept of a home for artist Marcel Duchamp, portrayed by architect in a drawing in which we can see him swimming in the pool alongside the sculptor Constantin Brancusi and Mary Reynolds, friend of both. The house was designed in such a way that some pieces of the artist were added in it, providing them with a purpose, an idea far apart from the true ready-made concept, in this way recovering their semantic meaning, destroyed by the French artist.