martes, 27 de septiembre de 2011
Una sección muy aclaratoria.
Una vivienda que gira en torno a patio, que a su vez está girando.
Espacios flexibles, donde las acciones no tienen un lugar determinado. Espacios diferentes, concebidos para despertar el genio compositor del artista que los va a habitar.
La escalera se hace protagonista del proyecto al estar muy presente en el patio.
sábado, 24 de septiembre de 2011
Courtyards in Morocco - WERNER BLASER
The Oasis of the House
The open courtyards in the ancient Islamic, Persian and Byzantine regions are examples of exquisite architecture with interesting architectonic points of reference. These urban and highly aesthetic arquitectural models from a centuries-old tradition are of a particular interest to the contemporary observer. The spiritual space, the layout and use in conjunction with a poetic interpretation of the interior are traditional axioms of habitation and living that are still valid today.
The "residence" is screened from the outside world by a wall and turns lingering in the space into a pleasure. The harmonious integration of the courtyard space into the fabric of the home creates a sense of safety and intimacy. The courtyard is thus transformed into a monastic oasis. Courtyard architecture has always been an inviolable and respectful witness to contemplative seeing, to encounters and hospitality.
The staging of the courtyard as a solitary element of the house with water, vegetation and stone pavement represents a far-reaching digression into a world of fairy tales. Realistic contours in the enclosed rectangle convey a sense of spatial shelter. Detailed divisions and plasticity are evident even in the plan and are part of the inventory of space-defining elements. The ideal courtyard form is pure and graceful. Reduced to a few basic forms, the courtyard is distilled into an autonomous unit. The emphasis of material qualities and heightened artistry enhance its overall effect. In some houses, the courtyard is truly a representative bijou.
House of the Vetii in Pompeii -one of the firsts known sucessful patio-house.
World inside the house
The courtyard composition is founded in an ancient proven building form. Classic examples in the Middle and Far East date back for millenia - without losing their fascination. Against the vast background of Islamic history, the unchanging attitude towards the timeless form of the courtyardis infinitely compelling. The artistic details correspond to the signs and symbols of the Islamic spirit. This transforms the built courtyards into unique features.
The courtyard at ground level is the central element of the two-story home. It symbolizes the analogy to the sky in a climate characterized by aridity and heat. The pool centered on the axis of the courtyard, for example, humidifies the air and also signals its cooling effect with the tinkling sound of running water. The vegetation in the courtyard creates a paradisiacal state of innermost tranquility and contentedness.
The open courtyards in the ancient Islamic, Persian and Byzantine regions are examples of exquisite architecture with interesting architectonic points of reference. These urban and highly aesthetic arquitectural models from a centuries-old tradition are of a particular interest to the contemporary observer. The spiritual space, the layout and use in conjunction with a poetic interpretation of the interior are traditional axioms of habitation and living that are still valid today.
The "residence" is screened from the outside world by a wall and turns lingering in the space into a pleasure. The harmonious integration of the courtyard space into the fabric of the home creates a sense of safety and intimacy. The courtyard is thus transformed into a monastic oasis. Courtyard architecture has always been an inviolable and respectful witness to contemplative seeing, to encounters and hospitality.
The staging of the courtyard as a solitary element of the house with water, vegetation and stone pavement represents a far-reaching digression into a world of fairy tales. Realistic contours in the enclosed rectangle convey a sense of spatial shelter. Detailed divisions and plasticity are evident even in the plan and are part of the inventory of space-defining elements. The ideal courtyard form is pure and graceful. Reduced to a few basic forms, the courtyard is distilled into an autonomous unit. The emphasis of material qualities and heightened artistry enhance its overall effect. In some houses, the courtyard is truly a representative bijou.
World inside the house
The courtyard composition is founded in an ancient proven building form. Classic examples in the Middle and Far East date back for millenia - without losing their fascination. Against the vast background of Islamic history, the unchanging attitude towards the timeless form of the courtyardis infinitely compelling. The artistic details correspond to the signs and symbols of the Islamic spirit. This transforms the built courtyards into unique features.
The courtyard at ground level is the central element of the two-story home. It symbolizes the analogy to the sky in a climate characterized by aridity and heat. The pool centered on the axis of the courtyard, for example, humidifies the air and also signals its cooling effect with the tinkling sound of running water. The vegetation in the courtyard creates a paradisiacal state of innermost tranquility and contentedness.
A path into the interior
A dark, winding path leads to the atrium at the center of the house. This is the path inward: from darkness into light, from the street to the oasis, from noise to silence, from the cave into the open. All the rooms open onto this space.
The courtyard is an invitation to tranquility and seclusion. This delimited and silent peace, this hushed, small white infinity is divided into light and shadow by the sun. The intensity of the light in the courtyard is only fully expressed in contrast to the dark passage of the path.
The sky is no more and no less than the greatest depth of immeasurable light, unfolding as a canopy of blue in front of the human eye. Ultramarine is noble and beautiful - the queen of colours in Islam. The Moorish culture is a "blue" culture, its symbolism and sensibilities are always closely linked to the colour blue. The atrium should be understood as an ethic of designing with nature revealing beaty as perfection.
Courtyard as a paradise
The typical courtyards of the Middle and Far East are based on an integrated solution. They are characterized by encllosure and openness. They create a bright and friendly ambience, and constitute the open core of the enclosed living quarters. Courtyards without vegetation are called "dar" in arabic, while those with gardens are referred to as "ryad". As a design element, nature creates harmony in the courtyard in the form of water and vegetation.
Surrounded by the walls of the house, the sky opens like a translucent valut above the courtyard. The ground and roofline mark the horizontal boundary. The surrounding walls embody the vartical end transform the courtyard into an oasis secluded from the outside world.
More than a mere utilitarian feature, the courtyard is a meeting place and forum for family communication, thereby complementing the internal living spaces. Within this complex, the woman of the house can fully come into her own. The personal sphere comes alive in the courtyard: the array of colours, the purity of the water, the evocatively harmonized visualization. The privacy of the sparselydecorated space acts as a balm. It enchants through clarityand discipline, much like a symbolic distillate of Oriental world architecture. The sublimely bright interior is the place where human relationships and social interactions unfold, a place of moods and feelings. External, hierarchical obstacles recede into the background. The collective unconscious acts upon present and is, at the same time, a part of this cultural environment.
Aproximación mediante maqueta
Una vivienda entre medianeras que se abre hacia dentro. El patio como oasis, foro y lugar de encuentros sociales. Privacidad de un salón cuyo techo es el cielo.
miércoles, 21 de septiembre de 2011
Croquis. Estudio preliminar
Situación de la parcela elegida. Dimensiones y primeras ideas de los posibles patios.
La situación del solar, con acceso desde una de las pocas plazas cercanas al río pero a la vez oculto por una construcción inmediatamente delante, procura una interesante relación de privacidad y vistas respecto a la vía pública. La propia "fachada a la calle" ofrece la alternativa de estar escondida o tener una franja para asomarse a la vida de la ciudad.
Sección.
La idea de una casa flexible, con espacios diferenciados pero igualmente válidos para cualquier actividad (especialmente la actividad de crear, de componer, que es la propia de un escritor) se me antoja como una buena estrategia de proyecto. Una casa con algunas dependencias singulares (como el patio o el estudio del escritor), pero en la que todo puede ocurrir en todas partes. Se me viene a la cabeza la casa Schindler, en Los Angeles, un proyecto en el que los habitantes, dos matrimonios con sus hijos, hicieron de esta idea de arquitectura una manera de habitar una vivienda.
Sin embargo, al mismo tiempo aparece la necesidad programática de separar otra zona, otra "vivienda" de invitados. ¿Como casar estos dos aspectos dentro de un mismo proyecto? Intuyo que esta pregunta será protagonista en el desarrollo del proyecto.
lunes, 19 de septiembre de 2011
Halawa house
Hojeando un libro sobre construir en el mundo árabe, encuentro una casa que me interesa, especialmente en su parte constructiva. La sencillez y humildad material de estas casas puede ser una buena guía a la hora de "construir" nuestro proyecto.
Casa de la escalera
Dado el solar elegido, alargado y entre medianeras, esta referencia se me antoja interesante, especialmente la sección. Aunque el contexto (más allá de la forma) no tiene nada que ver, la solución espacial si puede ser útil.
lunes, 12 de septiembre de 2011
case study no. 8 (casa Eames), Charles & Ray Eames (Los Angeles), 1949
La Eames House perteneció junto con otras 20 al proyecto experimental conocido como Case Study Houses después de la segunda guerra mundial, por lo que también es conocida como Case Study no. 8.
La casa está concebida como vivienda y estudio para la pareja americana. No nos referimos solamente a los Eames, que efectivamente la ocuparon apenas fue terminada la casa, sino a La familia americana, donde se fusionara los preceptos de la modernidad más autentica.
La preocupación de los diseñadores pasa primeramente por responder a la pregunta ¿qué es una casa? Muestra de ello es el dibujo de Charles que muestra todas las actividades que tienen lugar en una casa común.
La casa se construye a partir de perfiles metálicos de producción industrial que permiten cerramientos esbeltos y dan cabida también a la composición, donde por un lado aparecen los planos en colores que bien podrían recordar a composiciones de Piet Mondrian, y por otro, los elementos que hacen rígida la estructura: arriostres.
Al espacio interior no le basta las piezas estructurales (losas, muros, cerramientos, etc), es decir, la atmosfera del lugar se termina de definir con los objetos decorativos, algunos de ellos son destacadas piezas de diseño, desde una escalera hasta una mesa o un estampado:
Por último remarcar la importancia de la vegetación, tanto en el exterior como en el interior. El proyecto trató de preservar los árboles existentes y formaron parte del proyecto desde los primeros croquis. De esta manera, el matrimonio Eames logró crear un patio entre los dos volúmenes con una importante entidad.
Finalmente, cabe destacar la sencillez y claridad estructural de una casa que, además de ser de bajo coste, permite ser montada (e imaginemos, hoy en día desmontada) con mucha facilidad y en un corto periodo de tiempo.
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