Construido en en El Ranco Province, Chile. Imagenes por Guy Wenborne. El propósito de esta casa es construir un lugar de reunión. La obra surge como un encargo para diseñar una casa que sería ocupada como un lugar de descanso durante fines de semana, vacaciones. this family home by cazú zegers uses a series of curving walls to define the perimeter and sculptural interior.
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It’s that very territory that gives rise to both the difficulties and the inspirations.
I believe that we women architects work in a field of “n” dimensions in ezgers the senses play a role of indisputable importance. It is the driving wind that determines the topography of the place and the landscape.
In parallel with your design work you have always been involved in teaching, especially organizing numerous workshops and encounters with students. Designed to be both connected to nature and easily accessible for wheelchair users, taking into consideration zegdrs of the family members that has particular mobility requirements, most of the house is designed on a single level, with ramps and large doors integrated where needed.
So you know the younger generations of designers, in particular the Chileans. For more information visit the website of Cazu Zegers. I usually employ local materials.
What do you see as the key values in your design work? During your career, to what extent have you been influenced by the idea of ciudad abierta conceived and promoted by Amereidaan association founded in your Valparaiso university?
This is where their high poetic component comes from. Zegers’ architectural forms are generated by the relationship between poetry and architecture, with great attention paid to the relationships between ways of life, materials and construction.
Your vazu work cazi heterogeneous and different scales of types and dimensions, from private dwellings, to large hotels and sacred buildings. The same is true of concrete; the recurrent curved forms I use are obtained through moulds made in very traditional ways. It’s precisely this that interests me in architecture. Wood is the predominant material — as in the Casa Taller Cubo at Kawelluco and the Casa Cala at Lago Ranco — and the traditional constructional techniques of Chilean carpenters make these spaces extremely natural and comfortable.
On the one hand, there is the inspiration offered by the poetic work that zeegers form and which derives from the natural elements present in the places in which we work; for example, in the case of the hotel, the poetic word spelt: Corma, a competition promoting construction in wood, and CAP, which does the same for steel.
Do you think the dialogue between tradition and the contemporary idiom can be an zfgers and productive device for the architectural image? You need to understand that our greatest heritage is the czu and its landscapes.
The concept introduces the figure of a Christopher Columbus zeyers, during the voyage that was to lead him to the Indies, saw the American continent, which “appeared” to him as a gift. Workshop; development czzu the thesis of the territory. Amereida considers the South American population as an imitator of Europe, and therefore underlines the need to make our own the cultural identity that belongs to us.
CAZU ZEGERS: MILLENNIUM MEETINGS WITH ARCHITECTUERE SECOND EDITION –
Anticipating what will come and reflecting in order to give the most appropriate response, without ever losing sight of the value inherent to the places in which they work.
Today, I’m developing a new form of artistic-architectural work that I’ve called the “invisible workshop”, referencing the invisibility of women artists in Chile.
Glass is the contemporary material par excellence ; it constitutes by its very nature the “absence of limits” and transforms buildings into, airy, light and transparent structures. The name of your design group A. The form of the hotel borrowed this attribute from the surrounding territory, so zegees to unite with the landscape, without demystifying it.
One of the members of the family has particular access requirements, so this informed the final design. It’s fine that there are hydroelectric plants, but it is crucial that around the table sit not just engineers and businessmen, but also landscape designers and architects. This equivalence between gesture and sign, according to Martin Heideggerinaugurates a “place” in space.
The two questions are complementary, because my architecture is born out of and is based on the Amereida concept. Your personal details will not be shared with those companies – we send the emails and you can unsubscribe at any time.
How can you marry art and industry? The difficulty is always represented by the control of scale in the territory; that is to say, how to avoid competing with the natural beauty of the place, while at the same time managing not to be absorbed by the landscape. Young architects have to work within these contexts.
Cazu Zegers [Recent Lecture]
Architecture is an art that develops in space and consequently is three-dimensional. What do you think are the main characteristics, trends and innovative aspects that distinguish the research of the youngest and most advanced Chilean architects? My architecture in wood reprises the vernacular models of construction with that same material, transforming them into contemporary works through a traditional process.
This heterogeneousness probably also reflects the varying landscapes and territories caau Chile, from the Pacific Ocean coastline to the mountain areas and the valleys.
cazú zegers defines whisper house with curving concrete walls in chile
And among them, do any names in particular come to mind? If the effect is ugly in a given context, I hammer it so as to obtain the effect of a structure in stone. Cazu Zegers designs elevated timber retreat in the Chilean woods. In what aegers is this translated in the design of domestic spaces?
cxzu Cazu Zegers, Hotel del VientoPatagonia. Its form is also the form of the family that will inhabit it, and for this zegefs it becomes an ingredient of fundamental importance in the design phase.
The idea that guides my work in Chile is based on the fact that for a seismic southern country such as this —characterised by a territory in permanent friction, struck by earthquakes every ten years, with volcanoes, tsunamis, floods, “white earthquakes” and so on —, faced with a force as beautiful as it is catastrophic, our work has to be light and temporary, placing particular emphasis on low-tech with a high poetic charge.
The recently completed Casa LLU follows the tradition of the latter with its wooden, zigzagging forms cutting a strong, poised figure within the lush landscape of southern Chile. My architecture, based on the relationship between poetry and the South American territory, is intended to introduce its own idiom.
I’ve invented a method named Thesis of the Territorywhich is the encounter between the poetic word and the territory, a cqzu in which the equivalence between gesture and sign is produced, the embryo of a new creation. I’ve invented a zsgers named Thesis of the Territory, which is the encounter between the poetic word and the territory, a place in which the equivalence between gesture and sign is produced, the embryo of a new creation.
Workshop, and I devote myself to the Aperture works that invent an idiom; among them is Casa Calawhich I consider to be my thesis house. In my work I recognise three distinct phases: