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 figure of the client is fundamental because, as I said earlier, “the house is the construction of being”. My architecture, based on the relationship between poetry and the South American territory, is intended to introduce its own idiom. This way, the concept incites us to build, in this new territory, a language of forms that is longer the fruit of imitation.
On the one hand, there is the inspiration offered by the poetic work that determines 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: 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.
The concrete 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.
The house was designed as a vacation home for a family, its extended relatives, and friends, so it spans a significant sq m. It’s a new void within which we can create, like Malevich’s white on white. Your personal details will not be shared with those companies – we send the emails and you can unsubscribe at any time. I usually employ local materials. Your design work has heterogeneous and different scales of types and dimensions, from private zegees, to large hotels and sacred buildings.
Chilean architect Cazu Zegers has completed numerous projects and constructed several buildings in South America. For example, zegegs Chile there is a significant problem with earthquakes, destroying what little architectural heritage we have.
Consequently, approaches such as building in an ephemeral fashion practically without leaving traces, or reconstructing without forcing the building to lose value, or making the landscape resonant so xegers it conserves the memory zevers what once existed is without doubt a path to be followed. The name of your design group A. Cazu Zegers, Hotel del VientoPatagonia. Please keep cau up to date with special offers and news just by email from carefully selected companies.
Information For more information visit the website of Cazu Zegers. It is the driving wind that determines the topography of the place and the landscape.
Today, I’m developing a new form of artistic-architectural work that I’ve called the “invisible workshop”, referencing zeges invisibility of women artists in Chile.
Large openings wrap around the structure caz connect the residents with the outdoors even on the rainiest of days. The project, located in a particularly rainy part of Chile, was imagined as a shelter from the elements.
Chilean architect Cazu Zegers. This equivalence between gesture and sign, according to Martin Heideggerinaugurates a “place” in space.
cazú zegers defines whisper house with curving concrete walls in chile
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.
The concept 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. The same is true of concrete; the recurrent curved forms I use are obtained through moulds made in very traditional ways. Lateral wings are linked to this central volume and contain the family bedrooms and bathrooms, accessed discreetly via concealed doors.
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 parallel with your design work you have always been involved in teaching, especially organizing numerous workshops and encounters with students. One of the members of the family has particular access requirements, so this informed the final design.
Viento or WindHotel del Viento. The form of the hotel borrowed this attribute from the surrounding territory, so as to unite with the landscape, without demystifying it. I believe that the relationship with the territory — and with the powerful landscape in which all we Chileans are immersed — is what makes us more open to contemplation and the poetic. And among them, do any names in particular come to mind? 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 zeegers creation.
Are there any other opportunities for young designers to emerge and promote experimentation and architectural innovation in Chile? In your design work, the choice of materials and zeegrs also reflects your point of view and different styles. My architecture in wood reprises the vernacular models of construction with that same material, transforming them into contemporary works through a traditional process.
Corma, a competition promoting construction in wood, and CAP, which does the same for steel. Young architects have to work within these contexts. The other difficulty is constituted by more remote questions, such as budgets that never allow room for manoeuvre.
This is where their high poetic component comes from. Among your projects there are many private dwellings.
cazú zegers: whisper house in chile
It’s that very territory that gives rise to both the difficulties and the inspirations. The architect ccazu a mix of local and contemporary architectural languages. In what caau is this translated in the design of domestic spaces? Do you think the dialogue between tradition and the contemporary idiom can be an interesting and productive device for the architectural image?
He calls it the Regiona territory that, once named, becomes landscape and place in which life unfolds and on which is based the culture of a people.
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? 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.
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. Architecture is an art that develops in space and consequently is three-dimensional.
This is why the book collecting my works is entitled Prototypes in the Territory. 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.
This heterogeneousness probably also reflects the varying landscapes and territories of Chile, from the Pacific Ocean coastline to the mountain areas and the valleys.
In my work I recognise three distinct phases: