House of blue lagoon or blue bay, proposal for Daugava left coast development in Riga. Unrealised project.

This two-part panel drawing was presented at the Young Architects Independent Proposal exhibition under the open call "Nature-human habitation" in 1984.

The poetic narrative of the proposal can be read as a love letter to Laurie Anderson that, alongside Joseph Beuys, was the strongest source of inspiration for Hardijs Lediņšl—the Latvian media art, experimental music and performance genre pioneer of the 1980s.
The panel was accompanied by lyrics of the song Blue Lagoon from Anderson’s album Mister Heartbreak, 1983. All of the houses drawn on the panel—House of Clouds, House of Wind, House of Meteor, House of Moon, House of Blue Bay, House of Migrant Birds, House of Lightning, House of Rain, House of Press and above all House of Rainbow—mark the Daugava left coast development as a vision of a dreamy lover. Most remarkable of the ten houses is the one resembling the water tower—House of Blue Bay. Under the dome of its roof rests an island with three significant elements—a toilet, a kiosk and a lift. And a few palm trees. A sunken ship along the bay. A flow of musical associations in the form of utopian architecture.

The project can be perceived not so much as being close to reality but rather as an architectural metaphor—an ideal "island", living place, environment or personal Arcadia, which already at that time, in 1984, indicates the significance and presence of the ecological thinking in architecture.

The project is a strong example of the so called "paper architecture" that particularly flourished in the Soviet Union—infeasible, often visionary and utopic projects that responded to the problematic and depleted architectural environment. It is both a graphic form of architectural criticism and a visual commentary on how the imagination can "improve" the social and physical reality in which we live.