_ ROSANA GALIÁN GARCÍA(+34)650 550 341_ E-mail: sitarosi3@hotmail.com

“Ours is essentially a tragic age, so we refuse to take it

tragically” DH Lawrence.

Rosana Galián (Mucia, 1985), University of Alicante, ETSAM (School of Architecture of Madrid). Her work has been recognized with the Inurbe award in 2008 and several mentions in Cevisa-ma 2008 and 2009. As a professional, she has worked in Torres Nadal Architectures, Best Before and Izaskun Chinchilla Architects and she has recently completed projects with Carlos Garcia (Una Architects). She has also worked in various design publications.

Since 2010, Rosana and Paula are Fru *Fru, a creative team, with which they have conducted several activities between Madrid, Murcia and Alicante. The work of Fru* Fru has been published in numerous media. In 2012, Fru* Fru obtained the First Prize in the Competi-tion Aka VIIP SOS4.8 for the design of the VIP area of the festival SOS4.8.

_ PAULA VILAPLANA DE MIGUEL (+34)687 457 814

_ E-mail: vilaplana.paula@gmail.com

“Ours is essentially a tragic age, so we refuse to take it

tragically” DH Lawrence.

Paula Vilaplana (Alicante, 1985), University of Alicante, Paris-Belleville and ETSAM. She has won several awards, including the prize for best cultural blog of the University of Alicante in 2006, the first prize in the competition to design the image of Foro de la Edificación Sosteni-ble2009 and the first prize in 2011 in Enter Ateneo, an international contest to revitalize the lobby of the AteneoMadrid, as part of the team Paipái. Since 2006, she works as an editor at edgargonzalez.com. She has also collaborated in Javier Sánchez Merina Architects and Barbarela Studio.

Since 2010, Rosana and Paula are Fru *Fru, a creative team, with which they have conducted several activities between Madrid, Murcia and Alicante. The work of Fru* Fru has been published in numerous media. In 2012, Fru* Fru obtained the First Prize in the Competi-tion Aka VIIP SOS4.8 for the design of the VIP area of the festival SOS4.8.

INDEXPROJECTS &COMPETITIONS | The stellar crockery shopA jungle for GaunFru*Fru Industries:the dresser A dinner with Poltergeist. Reviewing room designs and virtual identityFruFruLand radio shows. Affective corporatism in the shopping mall’s urbanism

G MALLEXHIBITIONS & CURATORIAL PROPOSALS|Jugo de Levante Architecture ClubLife HysteriasDomotics of seductionBoudoir conversations

ACADEMIC PROPOSALS & ESSAISAfterpop is looking for an architectFru*Fru for Pliego Suelto & Fetiche Dance crazes & Architetcure. Project lessons at the University of Alicante

PERFORMATIVE ARCHITECTURE| Double GamesDear Mr Vito AcconciTurn on the Christmas Lights and have a Shiny New Year

| PROJECTS AND

COMPETITIONS |

cuchiville

Academic Project |University of Alicante (2009)

Cuchiville starts from a biological phenomenon: the transatlantic migration of Monarch Butterflies. These but-terflies often stop their flight to rest on the highest points of offshore oil platforms, occupying and naturalizing them for

short periods of time.Cuchiville is the reuse of an oil rig as a space for artistic creation (http://frustarfru.tumblr.com/post/19355749178/cuchuville-es-un-proyecto-de-sense-the-city-en). We propose an artifact for each artist reinterpreting John Hejduk’s

drawings in his diary,Victims.

These mechanisms do not only produce art works: they participate in a string of energy collaboration between environment and artists. Human energy consciousness and social sustainability interact with ecological sustaina-bility as a whole by using two legends: a mythological one (the existence of a monster from Chile half pig half snake about oil) and a paranormal legend (UFO sightings in the Gulf of Mexico).

The stellar crockery shop performs the design of the VIP area of the SOS 4.8 Festival from the popular memory of the site. In this location, a historically fair is held every September.

Fru*Fru propose a sophisticated recycling of old fairground rides, picking up little pieces of them in order to create a new system.The system consists of starlight and links to pop stars enjoyable from the VIP area and the

rest of the public. It creates a conversation between them: there is a reciprocal relationship between the two spa-ces. Thus, new materials allow creating light flashes by using part of the installation

the stellar crockery shop

Competition | Murcia, Spain (2012)

1st

prize

| Media and further information about this project here:http://frustarfru.tumblr.com/post/18068103845/la-cacharreria-este-lar-2011-primer-premio-ex

A jungle for GaunBuilt project | Nuremberg, Germany (2012)

In 2012, Fru*Fru was in charge of the design and construction of “a Forest for Gaun”, a tempo-rary exhibition stand for the pet brand “Gaun” in the pet fair Interzoo (http://frustarfru.tumblr.com/post/23482364228/en-messe-nuremberg-la-organizacion-de-interzoo). “A Forest for Gaun” began as a challenge: they could only use Gaun’s materials and tools to build the whole space. This project is part of the series “domesticated or commonly architectural objects” in which Fru*Fru combines architectural practice with resources extracted from their own personal imaginary.

REMAKE: GLAMOUR MIRROR REMAKE

SCALE: OBJECT 1:1

MEDIA: VIDEO-TUTORIAL

FRU*FRU INDUSTRIES: The dresser

From the construction oF gender to the creation oF a shielded mask

Built project | Alicante, Spain (2013)

The dressing table is a 1:1 scale object that has been fabricated in steel and methacrylate with CAD/CAM technology.There are in fact two dressing tables in the project: one belongs to R. and the other one to P. and they can be placed in several positions so as to gene-rate a series of different situations (individual use / shared spaces / stage scenery / luggage use). The dressing table is divided in two areas: the shielded interface where you can store your cosmetic pro-ducts, and the gender constructor (for storage of working tools for architects). The gender constructor is what distinguishes this dressing table from other existing dressing tables: fru*fru think that gender is a bio -political invention that is not built by makeup ( a mask ) but by work. They consider themselves woman and architects through their personal work releases.Another important issue in this dressing table is the use of technology: there is a compartment where you can store your mobile phone or tablet.Therefore, by the use of a mobile phone or a ta-blet, the dressing table can be used as a recording studio. Here, the point is to remark how domesticity has changed by using technologies and internet: traditionally private spaces such as bedrooms and bathrooms have become public in video tutorials and photographs uploaded to youtube, facebook or instagram every day. Finally, the dressing table is also a transportable object: it can be easily packed so as to be used a suitcase (designed with Ryan Air’s maximum di-mensions).

Fru*Fru’s dressing table is explained in a video-tutorial: https://vimeo.com/73564342

The real Glamour Mirror

A Forest for Gaun

The dressing table in Life Hysterias

The dressing table: several positions

GUEST APPEARANCEHugh Hefner

REMAKE: elrod house (john lautner)

SCALE: room

MEDIA: augmented reality

A DINNER WITH POLTERGEIST

reVieWing room designs and

Virtual identitY

Virtual Project | Alicante, Spain (2013)

The Elrod House

The 3 screens in the installation

Rooms.Picture 2

On the left, one view of the office/living-room

This episode contains two sorts of objects: large format drawings and augmented reality videos.

There are two large format drawings hung in the structure: they represent two rooms in Fru*Fru’s house, one corresponding to the bedrooms and the other one to an office/living room.Fru*Fru House is a house for “delightist” architects (the term “delightist architecture” was first described by David Archilla in his Delightist Manifest, Movimiento Disfrutista in Spanish original). In this house, there is no distinction between work areas and enjoyable spa-ces. Fru*Fru’s work is Fru*Fru’s life as it is perceivable in every corner of the house: in the beds where they lay and work or in the living room where they can have work meetings or invite friends for dinner. Moreover, screens are everywhere in the house: virtual guets keep always company.The designing of the house is inspired by John Lautner’s houses and his scenographical domestic spaces: the swimming pool that borders the bedrooms or the presence of magnificent stairways convert each transition from one room to another into a real acting stage.Finally, the visitor can see how the rooms are inhabi-ted in two screens located on the remote control table (view espisode 3). The third one introduces Fru*Fru’s first virtual guest: Iván López Munera, a spanish art curator whose recent exhibition “Pop Politics” strongly influenced Fru*Fru’s work.

You can see augmented reality videos here: https://vimeo.com/76809751https://vimeo.com/76809750

GUEST APPEARANCEIván López Munuera

episode 5

REMAKE: dreamland (albert grass)

SCALE: city map

MEDIA: radio show

FRUFRULAND RADIO SHOWS

aFFectiVe corPoratism in the urBanism oF a shoPPing mall

Virtual Project | Alicante, Spain (2013)

On the left, a Map for FruFruLand

Fru*Fru proposes a futuristic city, FruFruLand, totally artificial, located within a shopping mall.In this city, artificial items redefine themselves as natural ones, pursuing the idea that it is necessary to override what is natural in a totally artificialized context. Moreover FruFruLand is not a usual city: based on Eloy Fer-nández Porta’s theories about affective corporatism, brands have invaded the city and city facilities have become spon-sored spaces. For instance, Inditex runs the cultural areas of the city, Mapfre Assurances controls the medical district or Fru*Fru is in charge of the residential area.

You can listen to FruFruLand radio show here: Dreamland

The map in the installation

A visitor listening to the radio show

I’ve never been in North Brother Island

Palm fiction

Competition | Alicante, Spain (2014)

Palm Fiction is Fru*Fru’s proposal for Alicante’s Walk of Fame, based on both city and film topics: palms and pyrotechnics.

Palm Fiction is a reinterpretaion of Hollywood’s Walk of Fame for the city of Ali-cante, in Spain. Alicante has the biggest film studios in Europe, called “Ciudad de la luz”.

Here, the aim of the design is to create a special scenery for artists awarded in Alican-te. Based on the book “The diva at home” and Fru*Fru’s theories about staircases and domestic stages, Palm Fiction appears as a climbing palm where artists reach their own star.

This palm is a star-shaped palm in which hundreds of brilliant stars float and move with the wind, creating a really magical effect.

| EXHIBITIONS &

CURATORIAL

PROPOSALS |

Jugo de Levante Architecture Club

All the agencies occupying their place in the banquet table

Curatorial Proposal|Alicante-Valencia-Murcia-Barcelona

Fru*Fru is immersed in a big informactive deal called Jugo de Levante: a research which aim is to redefine the role of the architect in crisis contexts. This project, straddling research and happening, brings together thirteen architecture teams around a banquet table where they prepare and eat a menu cooked with their particularly studio tools. The ban-quet table is both a map of relationships between teams and a workplace. It will also support the exhibition. Fru*Fru usually plays with the power of objects to transform contexts. This can be experienced with the banquet table. Jugo de Levante first exhibition will be called “ Levante pasa factura” and will show bills from the agencies taken part in the banquet.

Jugo de Levante organizers

Opening Session in Murcia

Poster of the first exhibitionsDot Agency for Architecture Affairs bills for the exhibition

life hysterias

Exhibition | Alicante, Spain (2013)

“Life Hysterias” is a temporary installation that reflects on ways of domestic living by reviewing the iden-tity of the architect and architecture in the contemporary context in which it is necessary to continually

redefine its role. This project is Fru*Fru’s Final Project in Architecture Design. The project was leaded by professors Enrique Nieto & José María Torres from the AeA Alicante.

Fru*Fru integrates architectural production formats in terms of new teaching of architecture (teaching obects) , new archi-tecture management (informative objects ) and new formalization of architecture (domesticated objects).

The installation is star shaped: but this star appears deformed. Each point of the star corresponds to a remake of an existing architectural object at different scales and uses processes taken from projects of their previous academic and professional portfolio.

The project focuses on five contradictions or oxymoron:Artificial NatureMediatic IntimacyDomestic DivasArtificial NatureAffective CorporatismEnjoyable Theory

SPECIAL THANKS TO THE AeA ALICANTE PROFESSORS ENRIQUE NIETO & JOSÉ MARÍA TORRES NADAL

REMAKE: beistegui apartment (le corbusier) SCALE: domotics MEDIA: remote control

DOMOTICS OF SEDUCTION

diY remote control For ineFFicient technologY

Exhibition | Alicante, Spain (2013)

On the left, the remote control as it was built

Beistegui Apartment

The remote control device

All the connections appearing on the remote control table

Domotics of Seduction is an interactive object which aim is to explain the theoretical issues of the project. It is a table which surface is carved

with a plan drawing of the installation whe-re it is easy to relate each of the parts of the

project to the theoretical concepts managed to develop it:

1. Remakes2. Seduction of an idol

3. Identity4. Domestic Scale5. Artificial Nature

6. Mediatic Intimacy7. Affective corporatism

8. Ejoyist Theory9. Domestic Divas

10. Informative Objects11. Teaching Objects

12. Domesticated Objects

boudoir conversations

Exhibition & Interviews | Alicante, Spain (2014)

A documentary exhibition project between Alicante and London by Fru*Fru & Gonzalo Herrero for the series “My house is your Museum” directed by José María Torres Nadal.

“Boudoir conversations” is a collection of virtual dialogues developed simultaneously in two domesticated spaces: Jose Maria Torres’s house in Alicante, transformed into a museum since October 2013, and Gonzalo Herrero’s bedroom in London. Gonzalo will open his bedroom door so as to allow on-site conversations while Fru*Fru will intervene through their media boudoir. These dialogues will focus on the identity transformations due to massive pop phenomena such as mediatization, sexualization, technologization and corporatization of households. The dialogue will start from some usual contradictions in domestic behaviors which are naturally assumed building a new complex and fascinating reality. Those paradoxes appear to be organized in five oxymorons, combining two apparently contradictory terms and producing radical new meanings. The oxymorons will be discussed during five tele-interviews between Fru*Fru and different figures of contemporary architecture and art domains.

“Boudoir conversations” will take place simultaneosuly in two households opened to public, as an event. Anybody can get to the Spanish or English sceneries and take part in the conversation. > London scenery: Gonzalo Herrero will be a reporter from his house in Drummond St., opening his bedroom to guests and casual visitors who want to join the conversation>Alicante scenery: Fru*Fru will broadcast the dialogues from Jose Maria’s “summer” bedroom in Paseíto Ramiro square. A projection of Gonzalo will occupy part of the room, already filled with the two boudoirs. Spectators will take a seat next to the boudoirs and participate in the interviews.

The program is going to last two months and consists in five public interviews, related to five oxymoron or architec-tural topics: domestic divas, artificial nature, media intimacy, affective corporatism and pleasurable theory.Each block will have a different special guest: #1 artificial nature _ the artificial turned into a new naturalnessGuest: Nerea Calvillo #2 media privacy _ privacy as a public itemGuest: Madelon Vriesendorp#3 domestic divas_ domesticity, amplifying a stage of the everyday lifeGuest: Izaskun Chinchilla /Carlos Jimenez #4 affective corporatism_ the emotions of brandsGuest: Eva Franch#5 pleasurable theory _ the enjoyment as a methodologyGuest1: Beatrice Galilee Guest2: MISS

|ACADEMIC

PROPOSALS

& ESSAIS |

Afterpop is looking for an architect

Workshop | University of Alicante, Spain (2013)

REMAKE: the tv at home (andres jaque)

SCALE: relationships

MEDIA: VIDEO-TUTORIALreality show

In March 2013, Fru*Fru had the fantas-tic chance to organize a workshop at the AeA Alicante, with two very special guests: writers Agustín Fernández Mallo and Eloy Fernández Porta. They usually work separately but they sometimes build together performative speeches called “Afterpop Fernández&Fernández”.Fru*Fru had a triple labor in this work-shop:- engaging two culture personalities to participate in the workshop-writing texts and statements for a work-shop proposal- filming and editing all the work produ-ced during the workshop.Many professors from the Project Area took part in the workshop such as En-rique Nieto, Miguel Mesa del Castillo, Uriel Fogué & Nerea Calvillo among others. The workshop lasted three days and was projected as a reality show called “Afterpop is looking for an archi-tect”, where groups of students chose to work with one of the two writers in order to become an Afterpop architect.

Workshop Poster by Fru*Fru

Discussing about some of the projects

One of the videos by Fru*Fru: on Fru*Fru Channel

On the left, leveral screens showing the reality show videos

GUEST APPEARANCESAndrés JaqueAgustín Fernández MalloEloy Fernández Porta

Fru*Fru for 255 & pliego suelto

Fru*Fru design for Fetiche issue on 255 Magazine (January 2014)

Fru*Fru were invited to join Nocilla special review on Pliego Suelto Magazine, a spanish litterature magazine. In this essai, Fru*Fru analyze Agustin Fernandez Mallo’s Nocilla Trilogy from their personal experience, first as anonymous fans and later as eventually working companions during a workshop in Alicante called “Afterpop is looking for an architect”. They narrate this relationship as if it was a car race, combining the history with pop elements from Agustin Fernandez Mallo’s imaginery.

[...]“ETAPA 1: EL TERCER PAISAJE , espacios indecisos (NOCILLA EXPERIENCE, p.45) Octubre de 2010, en Matadero Madrid. _ En una nave hasta hace poco abandonada Fru*Fru escucha una conferencia de Agustín Fernández Mallo y sabe de Nocilla por primera vez. Él habla de ciudades invisibles y genéricas latentes en aeropuertos, estaciones de servicio y carreteras solitarias: su imaginería de ruina y lugares de paso resuena entre sus manos para formalizarse continuamente en proyectos de arquitectura.

ETAPA 2: LA INFORMATINA , pura química de información con ADN propio (NOCILLA EXPERIENCE, p.111) Junio de 2011, Feria del Libro de Madrid._ Fru*Fru asalta a Agustín en su caseta y le entrega un regalo en formato obra de teatro. Él es el pro-tagonista, un forense que investiga la muerte de un edificio. El lenguaje científico y la sensibilidad tecnológica dentro de un contexto de arquitectura postpoética caracterizan la pieza. “ [...]

Architecture Lessons|University of Alicante, Spain (2014)

Dance crazes & Architetcure

Since January 2014, Fru*Fru work as professors at the University of Alican-te. They lead a group of students from first grade and their work consists on exploring the relations between dance & architecture, working at diffe-rent scales from the body to the stage design.

| PERFORMATIVE

ARCHITECTURE |

41

DOUBLE GAMESVideo & play

P. meets R. one Wednesday in Matadero Madrid,.They are going to listen a lecture with Beatriz Ramo, Guzmán de Yarza and Agustín Fernández Mallo, two architects and a poet. They talk about roller coasters, airports, cities and non-generic places. Agustín reads an excerpt from Italo Calvino’s Invisible Cities.It suddenly comes to R. & P. the idea of working together as Fru*Fru. Their first project would be called “double : a dramatization of destruction” a performactive object (

http://frustarfru.tumblr.com/post/19354667877/glosario-altura-de-mira-1-cient-dimension-de). Performactive objects combine theoretical research, practical developments, performance, methodology and experimentation. R. becomes Bernd Becher and P. becomes Rachel Whiteread. BerndFru&RachelFru ally with Agustín Fernández Mallo for a terrorist action in an old abandoned Fronton Court in Madrid called Beti Jai’.The project starts from a conversation and has also a dialo-

gued format: it is a play. Although it is not just a play: it has additional material such as radiographs, a corpse and an autopsy document.

P. meets R. one Wednesday in Matadero Madrid,.They are going to listen a lecture with Beatriz Ramo, Guzmán de Yarza and Agustín Fernández Mallo, two architects and a poet. They talk about roller coasters, airports, cities and non-generic places. Agustín reads an excerpt from Italo Calvino’s Invisible Cities.It suddenly comes to R. & P. the idea of working together as Fru*Fru. Their first project would be called “double : a dramatization of destruction” a performactive object (

http://frustarfru.tumblr.com/post/19354667877/glosario-altura-de-mira-1-cient-dimension-de). Performactive objects combine theoretical research, practical developments, performance, methodology and experimentation. R. becomes Bernd Becher and P. becomes Rachel Whiteread. BerndFru&RachelFru ally with Agustín Fernández Mallo for a terrorist action in an old abandoned Fronton Court in Madrid called Beti Jai’.The project starts from a conversation and has also a dialo-

gued format: it is a play. Although it is not just a play: it has additional material such as radiographs, a corpse and an autopsy document.

FEAUTURING Gonzalo Herrero

GUEST APPEARANCEAgustín Fernández Mallo

| Media and further information about this project here:http://frustarfru.tumblr.com/post/19354667877/glosario-altura-de-mira-1-cient-dimension-de

DEAR MR VITO ACCONCIVideo portfolio

1.FRU*FRU CAN DESIGN A PROJECT FROM A CONVERSATION- Fru meets Fru one Wednesday in Matadero Madrid, an old slaughterhouse. They are going to listen to a new lecture format called Ménage à trois, with Beatriz Ramo, Guzmán de Yarza and Agustín Fernández Mallo, two architects and a poet. They talk about roller coasters, airports, cities and non-generic places. Agustín reads an excerpt from Italo Calvino’s Invisible Cities. It suddenly comes to Frustarfru the idea of working together in a new project. It would be called “double games: a dramatization of destruction “, one of the first fru*fru’s performactive objects : http://frustarfru.tumblr.com/post/19354667877/glosario-altura-de-mira-1-cient-dimension-de- Performactive objects (also known as teaching objects) combine theoretical research, practical developments, performance, methodology and experi-mentation. Fru becomes Bernd Becher. Fru becomes Rachel Whiteread. BerndFru&RachelFru ally with Agustín Fernández Mallo for a terrorist action in an old abandoned Fronton Court in Madrid called Beti Jai’.- The project starts from a conversation and has also a dialogued format: it is a play. Although it is not just a play: it has additional material such as radiographs, a corpse and an autopsy document. Double Games is recorded and shared- We offer the play to AgustínFernándezMallo while the Book Fair took place in Madrid; he reads it at the airport. “Curious and interesting” he writes afterwards. We share the play with some architecture students turning a classroom into an assembly hall, making the play happen.

2. FRU*FRU HAS EXPERIENCE IN ARCHITECTURE AND DESIGN OFFICE- Fru has worked developing projects with Izaskun Chinchilla Architects in Madrid (http://www.izaskunchinchilla.es/)- Fru has founded and worked in Paipái Architects (http://atelierpaipai.com/atelierpaipai/) - Fru has written about architecture at http://www.edgargonzalez.com/- Fru has managed architecture events at the University of Alicante (http://www.facebook.com/pages/Los-Viernes-al-Sol/229760243775268 )- Fru has partnered with Fru to create together frustarfru: http://frustarfru.tumblr.com/ ; frustarfru is part of Jugo de Levante, a research group that focuses on architects from the Southest of Spain: http://www.jugodelevante.com/- Frustarfru has recently built “a Forest for Gaun”, a temporary exhibition stand for Gaun in the pet fair Interzoo: http://frustarfru.tumblr.com/post/23482364228/en-messe-nuremberg-la-organizacion-de-interzoo. “A Forest for Gaun” began as a challenge: we could only use Gaun’s materials and tools to build the whole space. This project is part of the series “domesticated or vulgarly architectural objects” in which Fru*Fru combines architec-tural practice with resources extracted from their own personal imaginary. The way to appropriate objects is to pass them through their subjectivity filters first.

3. FRU*FRU IS COMPUTER-FLUENT- Fru*Fru draws domesticated objects with AutoCAD 2D. Fru*Fru extrudes domesticated drawings with Rhinoceros. Fru*Fru optimizes extruded domesti-

In september 2012, Fru*Fru discovered a job offered by Vito Acconci. He needed an architect who fullfilled eleven speci-fic conditions. Thus, Fru*Fru decided to answer with a video-portfolio so as to prove they were the right people:

https://vimeo.com/53496177

cated objects in Grasshopper. Fru*Fru uses Vray to render images. Fru*Fru edits images with Photoshop. Fru*Fru edits videos with Premiere & After Effects.

4. FRU*FRU IS INTERESTED IN THEORY AS IN PRACTICE- Fru*fru divides its work into three converging lines: performactive or teaching objects; informactive or management objects and domesticated or vulgarly architectural objects. The aim is to systematize each project into a case study, extracting patterns and parameters that transforms a particular project in a general method to approach reality. Therefore a project is likely to be thought of, built, played, re-appropriated and can ultimately become a public event

5. FRU*FRU IS ABLE TO DERIVE SYSTEMS FROM MATH, BIOLOGY, CHEMISTRY, PHY-SICS OR POETRY

- Fru*Fru likes starting each project from a particular interest that may not necessarily be an architectural one; it could be a legend, a photograph, a chance meeting, a scientific fact or even a post poetic poem. Therefore, a project like Cuchiville, vulgarly architectural, starts from a biological pheno-menon: the transatlantic migration of Monarch Butterflies. These butterflies often stop their flight to rest on the highest points f offshore oil platforms, occupying and naturalizing them for short periods of time.- Fru*Fru thinks that reality and fiction are not remote contexts, but complementary ones. Indeed, “Double Games” starts from a real context (the Beti Jai Fronton Court) to build a fiction based on real scientific procedures (http://frustarfru.tumblr.com/post/19401671971/todo-documento-de-cultura-es-un-documento-de ) This way, the building becomes a stage actor: it is able to live and it is able to be murdered- Science and poetry, literature and architecture, are disciplines that work together in contemporary contexts and sensibilities. As Agustín Fernández Mallo says, the theory of relativity can be the most beautiful haiku: http://frustarfru.tumblr.com/post/19631890001 6. Fru*Fru searchs out new materials and revises energy-sources-Speaking of new materials and energy is talking about two projects: “Cuchiville” and “Cacharreria estelar”-Cuchiville is the reuse of an oil rig as a space for artistic creation: http://frustarfru.tumblr.com/post/19355749178/cuchuville-es-un-proyecto-de-sense-the-city-en-Fru proposes an artifact for each artist reinterpreting John Hejduk’s drawings in his diary, Victims.-These mechanisms do not only produce art works: they participate in a string of energy collaboration between environment and artists.-Human energy consciousness and social sustainability interact with ecological sustainability as a whole.-You can’t talk about energy processes without cling to biological and sociological context.-Fru introduces energy into their projects through a previous cultural context. In this case two legends: a mythological one (the existence of a monster from Chile half pig half snake about oil) and a paranormal legend (UFO sightings in the Gulf of Mexico).-In the case of “Cacharreria Estelar”, fru considered the design of the VIP area of the SOS 4.8 Festival from the popular memory. In this location, a historically fair is held every September : http://frustarfru.tumblr.com/post/18068103845/la-cacharreria-estelar-2011-primer-premio-ex-Fru proposes a sophisticated recycling of old fairground rides, picking up little pieces of them in order to create a new system.- The system consists of starlight and links to pop stars enjoyable from the VIP area and the rest of the public.-It creates a conversation between them: there is a reciprocal relationship between the two spaces. New materials allow creating light flashes by using part of the installation.

7.FRU*FRU MAKES ARCHITECTURE CO-INCIDENT WITH INDUSTRIAL DESIGN & LANDSCAPE- Fru*Fru is immersed in a big informactive deal called Jugo de Levante: a research which aim is to redefine the role of the architect in crisis contexts.- This project, straddling research and happening, brings together thirteen architecture teams around a banquet table where they prepare and eat a menu cooked with their particularly studio tools.- The banquet table is both a map of relationships between teams and a workplace. It will also support the exhibition.- Fru*Fru usually plays with the power of objects to transform contexts. This can be experienced with the banquet table and was also tested with Cuchi-ville, where Fru*Fru intervention in an offshore oil rig, a large-scale object, aimed to impact the context identity generating a new local legend based on natural resources.

8. FRU*FRU MAKES ARCHITECTURE RESPONSIVE TO PEOPLE & VICE-VERSA-Our approach to society in the projects is filtered with the human eye, a look often stolen and turned into our own.-Therefore Fru appropriates and perverts identities rebuilding a new context between fiction and reality.-As Miranda July says, “I need constant attention to not replace each person with my own fictional version of them”

9. FRU*FRU IS COMMITTED TO ARCHITECTURE THAT COULDN´T HAVE BEEN DREAMT BEFORE THE 21ST CENTURY- Fru thinks that talking about present-future is talking about network technology.-Fru is aware of the management of information in cyberspace.-Fru values the structuring in virtual contexts (on platforms such as Second Life) where space-time dimensions appear diluted.-Fru works on creating its own virtual identity.-This is the meaning of Fru as a character, an alter ego and a protagonist. The awareness of a pop architect like a product is very important.

10. FRU*FRU THINKS ARCHITECTURALLY BUT ALSO THROUGH MUSIC, MOVIES, LITERATURE, SO-CIOLOGY, POLITICSSee the frufruteria (http://frustarfru.tumblr.com/tagged/frufruter%C3%ADa) , a series of characters that are inserted in a given context. A context mate-rialized as a cloud of extra disciplinary fru-knowledge that conditions or enriches every project starting.-more!

11. EFFECTIVENESS-27 years to find a job.-1 hour utterance reading.-A beer and an appetizer devising a plan of action.-1 Sunday writing a script.-2 days of shooting.-3 days of post-production.-1 afternoon concert.-1 day of post-production

TURN ON THE CHRISTMAS LIGHTS

Video

Fru*Fru wished everybody a shiny 2014 with a video where they explored meanings and connotations of the Christmas lights:

http://frustarfru.tumblr.com/post/71751019016/turn-on-the-christmas-lights-and-have-a-shiny-new