The house sits on the slope of a rocky hill in the desert and forms a deconstructive landmark embedded in the ground. Its impressive appearance and subtle embedding in the natural composition are based on simple but deconstructed and twisted geometries. The house itself is an experiment in the form of residential architecture within extreme conditions, more a work of art than real architecture; a habitable piece of sculpture.
The “Deserted House” sees itself as an early reaction of influences to develop its own position. It is based on the analysis of the “Stone House” by Günther Domenig, combined with the early work of the architect and director Joseph Kosinski, the “Desert House H2O”. Domenig as Entrepreneur of the deconstructivist architecture and Kosinski for the virtual world, in which Kosinski set new standards in terms of utopian architecture with the symbiosis of man and the environment with his remake of Tron. Almost the same was in his day for Domenig’s Stone House, which stands like a rock in the otherwise village environment. Even if the human being is perceived at first glance as an “alienating object”, one realizes that he is an integral part of the house. This is noticeable during longer stays through targeted visual relationships. The synergistic relationship between thesis (Domenig) and antithesis (Kosinski) and synthesis (Deserted House) was the basic way to position oneself, with the awareness that a position should be a short-term perspective if you are positive about personal development stands.
The Deserted House as a studio where you live and work, not as a long-term resident. By partially digging into the landscape an intimate working atmosphere is created, which also has a positive effect on the hot climate in the desert. A “hiding place” in the hostile environment. Here stands the desert, for the social environment in the big cities, where a “funeral” is the last resort; In the long run, the cemetery is a place of rest. A toilet has been deliberately omitted, the person must return to nature, if he wants to fulfill his need. Not always what we call the standard of living is the internet connection, often it is much more banal. Just when you see the toilet only as a prosthesis of the artificial intestinal extension, the renunciation of this prosthesis has caused a break with the otherwise canalized environment. Due to the non-physical manifestation of the object, a permanent adaptation in the virtual space should be preserved. Architecture, which is to develop, often finds its death-blow in a physical form. Symbolically, the Center Pompidou can be seen here in the context of the megastructures of the 1960s, although this is not necessarily synonymous with negative.
