P-011

Housing facade, close to Tombuctú . © Antonio Jiménez Torrecillas . 2006

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Cambra-Cambril, Monte Orixol (Euskadi) . Perejaume . 2003

'La génesis del proyecto en Vitoria parte de una reflexión sobre los límites existentes entre un museo y un entorno natural. Para desdibujar y traspasar la frontera imaginaria entre estos dos contextos, distintos pero no incompatibles, el artista los desplaza, conecta e interrelaciona a través de una intervención artística en el monte, que posteriormente queda materializada en el museo con la potente presencia de una gran pieza escultórica: Cambra-Cambrils. Esta obra presenta la forma de un inmenso muro cilíndrico de madera cuya cara inferior se adapta al abrupto perfil topográfico de una de las cimas del monte Orixol.
Para la consecución del proyecto, el artista midió in situ el perfil de la cima, y tras construirse la pieza en un taller, se colocó en el monte. El momento culminante de la intervención, cuando la pieza artística y la cima quedan unidas, fue registrado fotográficamente para después presentarse en el museo. Una vez conectados monte y pieza, es decir naturaleza y arte, la gran corona fue finalmente trasladada a ARTIUM para su exposición. Retrotabula se completa, además, con una selección de casi sesenta piezas más, entre pinturas, dibujos, fotografías, y esculturas. Obras como Cambra, Museografía, Els retaules o Arts ciutadanes, nos hablan metafóricamente de los límites del museo, de la naturaleza invadida por la intervención cultural del hombre, o del género de la pintura en sí mismo – que para él no es sólo un medio sino un tema-.'

http://www.artium.org/es/explora/exposiciones/item/55744-perejaume--retrotabula?highlight=WyJwZXJlamF1bWUiXQ==

E-044

Chilean House, Rancagua, Chile . Smiljan Radic . 2006

'These two houses -actually there´s only one built- recall the houses of tenant farmers in the Chilean countryside: the existing walnut trees haven´t been touched, the outside has been denied thanks to a whitewashed perimetral wall.
An inner courtyard with the possibility of being covered with an agricultural tarpaulin fixed to its wall to provide shade, an austere living room with bits of an exterior spread throughout the courtyard, a roof of painted untreated wood and bedrooms painted in bold colours.'

https://www.archdaily.com/10455/chilean-house-smiljan-radic

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Wohnhaus Hornækhus, Kopenhagen . Kay Fisker . 1923

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Edificio los Morochos, Municipio Libertador, Caracas . Alejandro Pietri . © Julio Cesar Mesa . 1956

'El edificio se compone de un volumen prismático de planta cuadrangular libre, separado del nivel del acceso a través de la estructura central de concreto armado, del cual emerge el volumen que contiene los apartamentos. Dicha estructura alberga el núcleo de circulación vertical que comunica las siete plantas del edificio. La planta baja se encuentra protegida por la amplia losa en volado hacia las cuatro fachadas cubriendo los puestos de estacionamiento de cada apartamento. Sus fachadas simétricas utilizan bloques calados de gran formato, para generar pequeñas ventanas con cerramientos giratorios de vidrio y metal dispuestos en forma de damero. La cortina de bloques calados oculta la presencia de las losas de los entrepisos, formando una fachada abstracta y uniforme, que remata en una cubierta escalonada a cuatro aguas que cubre el volumen. En las esquinas se ubican balcones volados con antepechos en concreto armado, único elemento de contacto con el exterior de cada apartamento, que le otorga escala a la edificación.'

http://guiaccs.com/obras/edificio-los-morochos/

E-041

Moore House, Orinda, California . Charles Moore . 1962

'Orinda House, also known as “Moore House” is located in a valley behind San Francisco,  was designed by architect Charles W. Moore for himself and built in 1962. In this project, Moore experimented with very simple means the possibility to recreate a project that could embody references to different moments of architectural history and that would allow an unconventional distribution and space articulation.

The small project is based on simple geometry and on the archetypal square plan to create a direct relationship with architectural archetypes such as the primitive hut or a Hindu temple.

A pyramidal roof with a flat sky window on top emerges from the outside walls and is supported by a combination of elements: a ring of beams laid on the exterior walls and some of the wooden columns inhabiting the interior space, while the whole house rests on a simple, concrete foundation. The corners of the building, materialized by sliding barn-like doors, are never touched by the outside walls. The doors can be opened to let the light to get in, underlining the continuity between inside and outside.

Eight columns, in groups of four, sustain two aediculae of different dimensions supporting two asymmetrical pyramidal roofs located within the main roof. These two sub-spaces inside the larger volume articulate the interior, and as they are painted white, they contrast with the rest of the surfaces. Between the two pavilions, a high bookcase structures the place for the beds. Only the toilet, some shelves and the cooking area are enclosed behind a wall, while all the rest of the space is freely distributed under the main roof.'

http://socks-studio.com/2017/01/29/archetypes-and-free-plan-orinda-house-by-charles-w-moore/

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Norrköping House . Sverre Fehn . 1963-64

'The Norrköping Villa was designed by Norwegian architect Sverre Fehn in 1963-64 as a model architecture for an ideal family of four. The 150 m2 house was designed for the exhibition NU 64 and it is a project which was not intended specifically for its building site in Norrköping, but conceived to be independent of any plot, an autonomous architecture responding only to its own internal rules.

The plan is cross-shaped and symmetrical with a central square core hosting services, bathrooms, toilets, kitchen and storage spaces and a second square, without any specific function, surrounding it. In the middle of the four edges of the second square are four “c-shaped” walls which can host the private rooms or be left open and empty in continuity with the central open area. The exterior c-shaped walls are made of bricks while all the corners are glazed with a massive wooden frame. The flat roof covering the central area is lifted to let the light enter the central core. This exercise in symmetry, geometrical control, plan organization based on the module of the square is said by the architect to have been inspired by the architectural principles Palladio developed in his villas.'

http://socks-studio.com/2016/06/18/a-palladian-villa-in-sweden-the-norrkoping-house-by-sverre-fehn-1963-64/