P-011

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

A-011

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

E-038

Naked House, Saitama, Japan . Shigeru Ban . 2000

'Having met the client only once, I was again considering what to do about the project of this house, when the client sent me a facsimile making precise requests. What he wanted was described as a house that “provides the least privacy so that the family members are not secluded from one another, a house that gives everyone the freedom to have individual activities in a shared atmosphere, in the middle of a unified family”. After reading his fax, I knew that I should take up this challenge.
The site of the house sits by a river and is surrounded by fields with greenhouses here and there.
The external walls made of two sheets of corrugated fiber-reinforced plastics and the inner walls made of a nylon fabric are both mounted on wooden stud frames and sit in parallel. In between are attached clear plastic bags, carefully stuffed with strings of foamed polyethylene for insulation purpose. Through these bags a soft diffused light fills in the interior of the house.
The house consists of one unique large space of two-story high in which four personal rooms on casters can be moved freely. To reduce weight and optimize mobility, these rooms are not very large and hold a minimum of belongings and fittings. They can be moved accordingly to the needs of their use. Placed against the walls of the house, in front of the heating or air-conditioning units, warm air or a cooling breeze can flow into it. They can also be put side by side and create a larger room, when their sliding doors are removed. They can be taken outside, on the terrace, for the full use of the space inside. They can also work as a supplementary floor for the children to play on top.
This house is, indeed, a result of my vision of enjoyable and flexible living, which evolved from the client’s own vision toward a living and a family life.'

http://www.shigerubanarchitects.com/works/2000_naked-house/

P-010

Cortijo Villegas, Fuente Vaqueros . © Antonio Jiménez Torrecillas . 2006

La forma del secadero revela el proceso de su construcción.
Sobre una zanja  excavada en la tierra se levanta un zuncho.
La estructura de fustes de chopo se cubre con tejas reutilizadas.
El cerramiento actúa de carcasa ventilada de la estructura.
Sobre unos ladrillos se apoyan unos prefabricados de hormigón reciclados.
Un cable de acero los asegura contra el vuelco.
Ya más arriba, se van disponiendo cortezas de piel de chopo,
el sobrante de los trabajos realizados en la serrería,
siguiendo la forma inclinada de la cubierta.
Al ser todas las tablillas de la misma longitud,
el triangulo restante inferior se completa con una disposición horizontal.'

Antonio Jiménez Torrecillas
El viaje de vuelta. El encuentro de la contemporaneidad a través de lo vernáculo
2006

A-010

'You', Gavin Brown's Enterprise Gallery, Chelsea . Urs Fischer . 2007

'“You” is an art installation by Urs Fischer done in 2007 at Gavin Brown’s Enterprise Gallery in Chelsea. Consisting of  a 30 foot by 30 foot crater, 8 feet deep dug into the foundation of the gallery.
The installation took 10 days and was done at a cost of over $250 000.
The following warning greeted visitors “THE INSTALLATION IS PHYSICALLY DANGEROUS AND INHERENTLY INVOLVES THE RISK OF SERIOUS INJURY OR DEATH”'

https://no-one.la/stories/urs-fischer-2007

F-006

Opytnoe Pole, Semipalatinsk nuclear test site, Kazakhstan . © Ursula Schulz-Dornburg . 2012

'Schulz-Dornburg’s monochromatic images of (largely vacant) architecture have dominated her practice since the end of the 1960s, when house-related imagery became central to her work. Though based in Germany, she takes photographs around the world while travelling—past destinations that have found their way into her work include the secret village of Kurchatov, Kazakhstan; ruins of the Hejaz Railway in Saudi Arabia; bus shelters in Armenia; Azerbaijan; and more.'

http://canadianart.ca/news/2016-aimia-prize-winner/

E-021

Municipal Gallery, Marktoberdorf . Bearth & Deplazes . © Ralph Feiner . 2001

'This striking brick complex is situated in the town centre and comprises two adjacent cubes of different heights, with a walled entrance courtyard. The exhibition volumes are enclosed in 50 cm solid brick walls, consisting of high-strength engineering bricks of Bavarian format (32 x 14.5 x 6.5 cm). The irregular texture of the bricks and the coarse-grained mortar result in a lively surface appearance. The exhibition cubes are divided into three levels, with engineering brick pavings and artificial lighting in the basement. In the storeys above this, the spaces are flooded with daylight, which enters through tall side windows and roof lights.'

http://www.detail-online.com/inspiration/municipal-gallery-in-marktoberdorf-106682.html

A-005

A conflict that has long been resolved . Sigmar Polke . 2007