Undefined
Starting from the film Fitzcarraldo and its accompanying documentary Burden of Dreams. Throughout the film, a significant distinction is felt between the colonials and the primitive local natives. This difference is also confirmed by director Werner Herzog. He talks about how it was a deliberate choice for him to maintain this distinction both in the film and during production, leading to separate camps on the set for the Western filmcrew and the indigenous people of the Ucayali River.
Inherent to humans is their subjectivity and the fact that humans will always convey/have their own opinion. Even when one tries to counteract this, there will always be a personal opinion/preference present. This is also the case in architecture; when designing with a program in mind, there will always be spaces where we determine how users interact with them. In a way, we are then bound to our own subjectivity. This becomes particularly noticeable when one wants to use a certain space in a different way.
Undefined responds to this, using a CRT TV. This allows the fragments from Fitzcarraldo and Burden of Dreams to be mixed without providing an opinion/stance on the colonials and their interactions with the natives of the Ucayali River. This creates fragments/frames that are undefined. It forms a political landscape without stating who is right or wrong. In these frames, spatial qualities can be found, allowing us to create an architecture where the spectator defines the space, an architecture liberated from a program.
