ONDŘEJ BLÁHA
Studies
Academy of Arts, Architecture & Design in Prague
(UMPRUM)
Summer Semester 2025/2026
Ondřej Bláha, Mariana Kalodová
Project Collaboration
(A1 Studio, Fine Arts IV Studio)
Winter Semester 2025/2026
A1 Studio
(Andrew Kiel, Viktória Mravčáková, Jakub Herza)
Summer Semester 2024/2025
Furniture and interior design
(Roman Vrtiška, Vladimír Žák, Petr Hák)
Winter Semester 2024/2025
UMlab Studio
(U/U Studio, Martin Hrouda, Jiří Kotal)
Winter Semester, Summer Semester 2023/2024
A1 Studio
(Jan Šépka, Miroslava Gulbisová)
2017-2023
Jan Neruda Gymnasium
Language proficiency
EN C2
DE B2
IT
AutoCAD
Rhinoceros
SketchUp
Adobe Photoshop
Adobe InDesign
Adobe After Effects
Lumion
V-Ray
Microsoft Office
Email
OPEN VIDEO WOOL HOUSESS 25/26
What happens when we move away from the Eurocentric, Western understanding of the façade as a stable, solid, and clearly defined boundary? What if we replace this principle with a soft, more fluid woolen shell that functions simultaneously as insulation and as an exposed material layer? A material that is usually hidden within the structural system is here revealed as a key component of both the architectural and the semantic field.
In this phase of the project Wool House, the focus shifts to the perception of this shift. The archetype of the saddle roof and the proportions of the house refer to a conventional European image of housing; however, rather than being reproduced, this image is intentionally destabilized by the introduction of a different material and structural logic, which replaces the notion of permanence with a regime of softness, permeability, and constant transformation.
The short film developed as part of Wool House unfolds as a layered meditation on dwelling, materiality, and landscape. Moving between observation and suggestion, it traces the presence of the WOOL HOUSE situated within a shifting environment, where it becomes inseparable from the rhythms that surround it. The structure does not resist the landscape, but embraces it. In this register, the house appears as both an archetype of habitation and a permeable entity, no longer defined by permanence but by its capacity to coexist.
Running parallel to this continuity, a second narrative stratum emerges. Less visible, yet persistent. It gestures toward the material conditions that make such a structure possible, exposing the overlooked infrastructures behind wool as a resource. Through fragmented references to sheep industries and the absence of systems capable of processing residual wool, the film constructs a picture of extraction, neglect, and unrealised potential.
Rather than resolving into a single storyline, the film operates as a “mystical document”: a space where ecological presence and industrial absence overlap. The house, suspended between these realities, becomes both a symbol and a question - an index of what it means to build, inhabit, and imagine differently.