Eccentric Gravity is an intricate exploration of the relationship between architecture, technology, and the natural forces that define our environment. Realized between 2015 and 2020, the project reflects on how constructed spaces—whether urban or architectural—serve as platforms for public rituals of political presentation and the exercise of power and control over society.
The project debuted in 2015 at the Belvedere Palace in Prague, a structure originally built in the 16th century as a showcase of the most advanced architectural techniques of its time, and the first building in the style of the Italian Renaissance in the broader region. The Belvedere, commissioned by Emperor Ferdinand I, was not just a symbol of political power but also a space where the most progressive ideas of the era were put on display. After the fall of the Berlin Wall, the Belvedere became one of the formative venues for contemporary art in Prague, showcasing for the first time works by Western artists like James Turrell. This historical context is essential to understanding Eccentric Gravity, which channels the building’s legacy and rich history.
Central to Eccentric Gravity is the concept of the catenary curve, a natural form that represents the balance between the forces of gravity and the structures we create to resist them. This curve, historically employed by architects like Gaudí, serves as a metaphor for the invisible forces—both natural and political—that shape the environments we inhabit. In both the original exhibition at the Belvedere and its extension, Eccentric Gravity: Heraldic, gravity itself is challenged by a human performer lifting weights, creating a large-scale map of movements and visualizing the tension between gravity and human attempts to overcome it. The project envisions a speculative “city of the future” within the Belvedere, constructed from synthetic geopolymers—a material formed by the reaction of aluminosilicate powders with an alkaline solution, symbolizing the blending of natural laws with human engineering to create spaces that exert control and influence.
Eccentric Gravity not only visualizes gravity as a physical force but also uses it as a form of language to question the advances of technology and reflect on conditions where humans might need to revert to fundamental natural principles. The project also considers architecture as a “social sculpture,” a concept that sees architectural spaces as shaping our movements, relationships, and societal structures. This idea is further explored in Eccentric Gravity: Heraldic, where a 20-meter-high ventilation shaft of a major inner-city tunnel is transformed into a monumental sculpture. The shaft, encased in 176 unique concrete panels designed with the help of robotic technology, becomes a visible representation of gravitational forces at work. This artwork not only makes the invisible tangible but also revitalizes the surrounding urban space, turning it into a park and outdoor gym—spaces where public life continues to be shaped and controlled, albeit in new, more subtle ways.