![]() ![]() However for reasons of budget, it was decided to eliminate this second staircase. To access the second floor would maintain a core of central circulation, and originally a second staircase that would link the large space with the patio to facilitate accessibility. Therefore it was decided to invert the program, leaving the bedrooms on the first floor and the large common space in the second. ![]() However, given the narrowness of the terrain, and the imposing presence of the Andes Mountains, the second floor would have a higher quality spatiality. In addition one would have a perfect relationship with the patio. So when you access the home one would find the public space away from the intimate space in the second. Then it was thought - of course - to completely release the first floor to house the large common space, and leave the bedrooms upstairs. Given the efficient distribution of the original plant, it was easy to accommodate that large space on a new single floor, and to leave the other for all the individual uses like sleeping and bathrooms. Therefore I wanted a large space where the collective acts of the house, such as cooking, eating and living, would be related. The family that would inhabit the new house was more on sharing in a large common space, than to segment the various daily activities in individual spaces. Housing of Johanna Whittle and Daniel Morales I am interested in this sense in the structural analysis of the morphology of organisms already developed, where their structural elements seemed to be the just and necessary to fulfill their vital functions. The structural elements are those that must be constructed from the beginning and also should be essential. Due to the preexistence of Casa Caballete, without neglecting these ways of achieving a high quality design at low cost, I have also sought to leave only the necessary, stripping the project of the unnecessary, especially linking with the structure. ![]() Based on these ideas I faced my projects with prefabrication strategies (SIP Panel Houses) and simple technologies (Hostal Ritoque, Polycarbonate Cabin). If a responsibility for design is to define our aesthetic relationship with the world, clinging to the properties of the materials allows the works of architecture to express themselves in a transparent, optimal way, facilitating their accessibility. I prefer to start working with the simplicity of construction materials, which allow us to create an imaginary of neutrality and efficiency. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. ![]() Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2. ![]()
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