a+u #637, 2023
It would be rather naive to describe the now well-known works of fala only with words such as ‘naive’ and ‘joyful’. The other side of such works contains the complex state of mind of young architects facing the harsh reality and the ontological question of the architects of this era. The innocent-looking positivity does not come from optimism about the world, but from a resigned acceptance that comes from 'not being able to do anything anymore', and it is against architects' long-held delusion and chronic optimism that architecture can redeem society. The fact that much of their work involves fixing small houses reflects the situation they find themselves in, and they desperately look for something they can do on a tight budget, but it inevitably becomes partial or fragmentary. However, by further isolating and juxtaposing each of these fragments, they use them as a critical tool for architecture that goes beyond simple functional solutions.
The presence of large, blunt doorknobs and fluttering handrails raises skeptical inquiries about intricate details and craftsmanship, echoing the questions posed by Adolf Loos over a century ago. Rather than expending labor to achieve a state of 'no ornamentation', which currently holds sway, they employ a more pragmatic and cost-effective approach, imbued with a joke. This profound jest is also evident in their use of materials. Not only do they employ marble in the way they apply paint, but they also challenge the 'authenticity of materials' by deviating from conventional grammar in their utilization. Furthermore, by embracing the variables and mistakes that arise during the construction process, they intentionally create a composition that appears clumsy and awkward, akin to the work of an amateur architect. However, this outcome is a result of the reconciliation between the self and the world, conceived by surrealists who anticipate serendipitous occurrences. The sudden appearance of half-moon-shaped mirrors and circular openings further elucidates this intention. In their explanations of architecture, they eschew discussions centered on light and materiality. Instead, they articulate their works through forms and elements, particularly by deliberately avoiding indirect lighting, thereby challenging the abstract nature of consciously constructed spaces. Their approach is akin to patiently awaiting the emergence of space by proudly revealing the essential elements and arranging them with an air of nonchalance. Nevertheless, it is the pillar that embodies their clear intentions and appreciation. This steadfastly indicates that every endeavor they undertake remains firmly rooted within the discipline of architecture, clearly demarcating a distinction from everyday architecture without architects.
They neither hold faith in the past nor adopt a future-oriented perspective. Instead, they embrace the present, the here and now, while simultaneously offering critique. Thus, their works assume the guise of poems that satirize reality. Within the desolate backdrop of reality, fala's architectural advancement lies in the deliberate exaggeration of that very reality. Consequently, their work not only serves as a direct assault on reality but also demands rectification and improvement. It does not embody pure sarcasm, which amounts to a complete denial and reckless attack on reality, nor does it demonstrate cynicism, which signifies a passive indifference towards reality. Rather, their work manifests as both negative and order- destructive, as it dismantles contemporary power structures, while also being positive and order-creating, aspiring towards a better reality. Their work is both deviation from and return to reality; both a reprimand and an act of love. They are practicing the art of love.