The first part if this lesson would involve observing details; the intention eventually being to use language to describe what they see and create a story. The act of observing in order to build a narrative around small and large relationships within the structure fosters the habit of mind analyze and synthesize. These habits of mind are important for students to develop so that they may learn to form their own opinions, and come to their own conclusions about the world beyond the classroom. 

• “30 Second Look”: Observe Habitat Hidroespacial for 30 seconds and list details
• Without looking at the work of art, create a sketch of Hidroespacial based on memory and the list of details
• View the work of art again and compare with sketch. Add more details.
• Observe and discuss the work of art using “Conversation Starters” and “Connecting to the Work of Art” on mfah.org.

• Compare to Hábitat hidroespacial, maqueta N and La Ciudad hidroespacial in the Museum of Fine Arts, Houston collection.

  • Hábitat hidroespacial, maqueta N https://emuseum.mfah.org/objects/99596/habitat-hidroespacial-maqueta-n?ctx=8a4aa4e4fb624cbcfb67318adc5f1cf8a988b290&idx=29
  • La Ciudad hidroespacialhttps://emuseum.mfah.org/objects/97271/la-ciudad-hidroespacial?ctx=8a4aa4e4fb624cbcfb67318adc5f1cf8a988b290&idx=45
• Take an imaginary walk through Gyula Kosice’s Hydrospatial City on this Vimeo site: https://vimeo.com/121505481

• What shapes do you observe in the drawing? How are they connected? How do the figures depicted in the drawing move through these objects and spaces?
• Describe the scale of figures, objects, and spaces in this drawing. If you were to create a three dimensional object based on the drawing, what would it look like? How would you represent the relative scale shown in the drawing?

• Read the excerpt from Kosice’s The Hydrospatial City Manifesto. How does this drawing relate to the concepts described in the manifesto? What technologies do you think would be needed to support the habitat envisioned in Kosice’s drawing?
• Like Kosice, imagine your ideal habitat or place to live. What would it look like? What materials would you use? Where would the setting or geography for this place exist? How does your imagined utopia compare with Kosice’s vision of an ideal city?

This work of art fosters positive risk-taking because students will be asked to create a story attached to the art without being given any information about the piece. While they may work with a partner to create the narrative, they would not know what other groups’ stories sound like. None is giving them the right answer. There is no meaning being handed to them, but rather, they create their own. They would also be aware that their stories and artwork will be shared with their peers at the end of the lesson. This takes creativity, courage, and fosters positive risk-taking.

Gyula Kosice’s drawing depicts a series of stacked circles connected by three thin calendrical towers. A large horizontal platform creates a bridge linking the two outermost towers flanking the structure.  Silhouettes of human figures traverse the space. The people appear to be miniature in comparison to the grand scale of the imagined structure that they are inhabiting. The emptiness of the blank paper serves as the background for Kosice’s envisioned habitat; it is suspended in space, rather than limited by gravity.

 

This drawing is part of a series of models (maquestas) that Kosice created for the ambitious and long-running project, The Hydrospatial City (la ciudad hidroespacial). Kosice first conceived of the project in 1946 with the publication of the Madi Manifesto, which posed that architecture should be created by forms and habitats suspended in space. Kosice was a charter member of the Madí Movement, which was established by a group of artists in Buenos Aires seeking to break from older forms in favor of invention by experimenting with new materials and concepts. Developing on the principles of this movement, Kosice created a series of ink drawings as models for the hydrospatial habitats that he would later fabricate as three dimensional forms using innovated materials such as acrylic, Plexiglas, and light. When the artist completed the grand project in 1971, it consisted of nineteen three-dimensional space habitats and seven two-dimensional light boxes coming together in an immersive, single-room installation.

 

Kosice described this utopian city as an alternative to Earth when, in the future, the planet’s food and its waters become contaminated resulting from the “persistent geographical and geological depredation.” Kosice’s The Hydrospatial City Manifesto (Manifesto La Ciudad Hidroespacial) from 1971 proposed:

 

“These are the many incentives for the radical changes we already anticipated as a biological necessity. We specifically propose the construction of the human habitat, actually occupying space at a height of a thousand and five hundred meters, in cities conceived of ad-hoc with a previous feeling of co-existence and a differentiated 'modus vivendi.’ Architecture has depended on the soil and the laws of gravity. These laws can be used scientifically so that hydro-spatial housing can be a reality, that is, viable from a technological point of view."[1]

 

Kosice created his body of work in Argentina; however, he adopted his artist’s name as Gyula Kosice in place of his birth name, Ferdinand Fallik, as a reference to his place of birth in Kosice (in current day Slovakia). The first exhibition of the Hydrospatial City was held in 1971 in the important gallery Bonino in Buenos Aires. The work received interest among both artistic and scientific circles in Buenos Aires. The Planetarium of the City of Buenos Aires (Planetario de la Ciudad de Buenas Aires) exhibited The Hydrospatial City in 1979, and the accompanying catalogue described Kosice’s work as “the manifestation of the human need to colonize space” [una manifestación de la necesidad humana de colonizar el espacio].[2] In 2009, the Museum of Fine Arts, Houston acquired Kosice’s Hydrospatial City (object numbers 2009.29.1-.26), which was purchased from the artist along with his drawings for the project. Although many of the individual components have been exhibited in the past, the MFAH is the only museum in the world to house the complete La ciudad hidroespacial, a fascinating and poetic discourse on the intelligent relationship between civilization and community in the near future.