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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The vazu introduces the figure of a Christopher Columbus who, during the voyage that was to lead him to the Indies, saw the American continent, which “appeared” to him as a gift.

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 method allows me to tackle the diverse scales and types of design, acting as a common thread. Workshop; development of the thesis of the territory.

My architecture in wood reprises the vernacular models of construction with that same material, transforming them into cazj works through a traditional process.

cazú zegers: whisper house in chile

This heterogeneousness probably also reflects the varying landscapes and territories of Chile, from the Zgeers Ocean coastline to the mountain areas and the cxzu. This way, the concept incites us to build, in this new territory, a language of forms that is longer the fruit of imitation.

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. Today more than ever, now that Chile is in a hurry to develop and the new mineral rush is populating the desert.

You need to understand that our greatest heritage is the territory and its landscapes. The caazu used at Los Vilos derives from the fact that it was a house facing the sea and so maintenance was an issue that could not be ignored during the design phase.

Concrete is an honest material that I’m accustomed to working with in a certain way, without ever rendering or covering it. I’m thinking in particular of the Hotel del Viento which sits poetically between land and sky, establishing a dialogue between the distant line of the horizon and human scale. The same is true of concrete; the recurrent curved forms I use are obtained through moulds made in very traditional ways.


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.

The first level is dominated by an open plan living area. The house was designed as a vacation home for a family, its extended relatives, and friends, so it spans a significant sq m. Every nation has its issues and the architect, the constructor of the world, has to know how to respond. I believe that we women architects work in a field of “n” dimensions in which the senses play a role of indisputable importance.

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. This is where their high poetic component comes from.

Corma, a competition promoting construction in wood, and CAP, which does the same for steel. 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. For example, in Chile there is a significant problem with earthquakes, destroying what little architectural heritage we have.

The two questions are complementary, because my architecture is born out of and is based on the Amereida concept. Do you think the dialogue between tradition and the contemporary idiom can be an interesting and productive device for the architectural image? The other difficulty is constituted by more remote questions, such as budgets that never allow room for manoeuvre.

The form of the hotel borrowed this attribute from the surrounding territory, so as to unite with the landscape, without demystifying it.

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. What do you see as the key values in your design work? So you know the younger generations of designers, in particular the Chileans.

Poetics of the Territory Before tonight’s lecture at the MAXXI, the Chilean architect describes her work and process; based on the relationship between poetry and the South American territory, it introduces its own idiom.


Cazu Zegers [Recent Lecture]

You can unsubscribe at any time. It’s a new void within which we can create, like Malevich’s white on zegdrs. I usually employ local materials.

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.

This is why the book collecting my works is entitled Prototypes in the Territory. Viento or WindVazu del Viento. It is the driving wind that determines the topography of the place and the landscape. The figure of the client is fundamental because, as I said earlier, “the house is the construction of being”.

cazú zegers defines whisper house with curving concrete walls in chile

Among your projects there are many private dwellings. Your design work has heterogeneous and different scales of types and dimensions, from private dwellings, to large hotels and sacred buildings. I’ve invented a method 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. And among them, do any names in particular come to zegere Even today, while I was preparing my lecture, I realised that one always tends to follow a key idea.

I’ve invented a method named Thesis of the Territorywhich is the encounter between the poetic word zegerrs the territory, a place in which the equivalence between gesture and sign is produced, the embryo of a new creation.

It’s that very territory that gives rise to both the difficulties and the inspirations. Are there any other opportunities for young designers to emerge and promote experimentation and architectural innovation in Chile? 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.

Lateral wings are linked to this central volume and contain the family bedrooms and bathrooms, accessed discreetly via concealed doors.

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