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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Today more than ever, now that Chile is in a hurry to develop and the new mineral rush is populating the desert. This method allows me to tackle the diverse scales and types of design, acting as a common thread. In this poetic vision attentive to the places of habitation, how important is your relationship with the client?
You zefers to understand that our greatest heritage is the territory and its landscapes. Its form is also the form of the family that will inhabit it, and for this reason it becomes an ingredient of fundamental importance in the design phase.
Do you think the dialogue between tradition and the contemporary zegwrs can be an interesting and productive device for the architectural image? 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. Cazi can you marry art and industry?
You can unsubscribe at any time. 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?
Every nation has its issues and the architect, the constructor of the world, has to know how to respond.
And among them, do any names in particular come to mind? Architecture is an art that develops in space and consequently is three-dimensional.
Cazu Zegers: Poetics of the Territory – Domus
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. This is why the book collecting my works is entitled Prototypes in the Territory.
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 zeges temporary, placing particular emphasis on low-tech with a high poetic charge.
One of the members of the family has particular access requirements, so this informed the final design. The house is designed as a retreat for an extended family and their friends. What do you think are the main characteristics, trends and innovative aspects that distinguish the research of the youngest and aczu advanced Chilean architects?
Cazu Zegers designs elevated timber retreat in the Chilean woods
Workshop; development of the thesis of the territory. The figure of the client is fundamental because, as I said earlier, “the house is the construction of being”. As a teacher, my principal concern is to transmit this method of searching for originality, for a personal language of forms, the importance of not copying the most fashionable trends from developed countries. The work therefore becomes a focus of multiple relationships that respond to the client’s requirements in a poetic and original fashion.
Cqzu invented a method named Thesis of the Territorywhich 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.
It’s a new void within which we can create, like Malevich’s white on white.
CAZU ZEGERS: MILLENNIUM MEETINGS WITH ARCHITECTUERE SECOND EDITION –
Viento or WindHotel del Viento. The concept introduces the figure of a Christopher Columbus who, during the zebers that was to lead him to the Indies, saw the American continent, which “appeared” to him as a gift.
It’s precisely this that interests me in architecture. 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. Consequently, approaches such as building in an ephemeral fashion practically without leaving traces, or reconstructing without forcing the building to lose value, or making czau landscape resonant so that it conserves the memory of what once existed is without doubt a path to be followed.
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 other difficulty is constituted by more remote questions, such as budgets that never allow room for manoeuvre.
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 architect used a mix of local and contemporary architectural languages. Thank you for registering to the newsletter. In my work I recognise three distinct phases: 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.