Chateau, Chateau Marmont

In my meditative sessions, I envision myself in the chaise longue chair of French psychoanalyst Jacques Lacan. I tell him “I wish I was Eusebi Güell, 19th century business tycoon. Industrialist. Owner of Palau Güell, Gaudí’s coolest project, eclipsing even La Sagrada Familia.”

I look down at my imperial red loafers, embroidered with diamonds in the shape of my initials. They’re dyed in the blood of Pope Benedict XVI, to hit a shade of red in between the 250 Ferrari Tessa Rossa and the cover of Björk’s Volta.

Lacan morphs into an aging Jacques Cousteau, played by Bill Murray, and tells me “Eusebi Güell died before Chateau Marmont ever opened, and long before the techno-feudalist regime divided us into ideological bubble balls, erasing our shared mythology.”

As I exit my visionary trance, the apparition of Rem Koolhas starts speaking through my mouth: “Designers don’t play with the souls of the dead. They give succinct project descriptions.”

“Chateau, Chateau Marmont” is a quixotic commission for Chateau Marmont and Palau Güell, through an aesthetic dialogue with Picasso’s blue period, and an investigation into how crafts can relate and incorporate contemporary mythmaking.