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Time:
body and memory, rooms and passageways / Tomás Browne
The passing of time in buildings / Juan Ignacio Baixas
Time, today / Montserrat Palmer
By the wayside / Francisco Zegers
To take account of time lost / Christian Glavic
Our ever-faster-moving culture stretches thin the separation between
past, present and future, making it more tenuous, and more illegible.
And architects, who used to lean towards permanence and durability,
are now incorporating into their value system the term temporary, along
with novelty, young, and recent.
How should we position ourselves in a time when the thirst for the new
becomes, as Javier Marías says, “contempt for what exists,
and fascination with what does not exist”? Demolitions, conversions,
remains –architecture rejects a static fate; those phenomena record
what has been, but also reflect what is in being now.
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Medicine
School, Chile / Alejandro Aravena and Fernando Pérez Oyarzun
At
different times the periphery has offered empty space and room to move.
The drive to expand, to the colonies of the New World and now to the
edges of crowded cities, was associated with an image of the future
free from previous existences, very different from the reality of the
centers, where the present of things past, things present and things
future inescapably shapes the architecture.
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Cavieres
Apartment, Chile / Philippe Blanc
Approved by use and time, space proves its ability to hold habits and
things –the root of its ability to endure. The way of living in
a finished work usually surprises both the inhabitant and the architect;
the static state of dwelling is expressed only in the furnishings drawn
in the ground plan. The rest of the process is a series of overlapping
movements in which unpredictable objects register the movements and
changes within the space.
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Corralones
house, Chile / Magdalena Bernstein and Mathias Klotz
Careful,
unassuming repairs create different spaces within an adobe storehouse.
The brutality of the new elements is veiled, melts into the timeworn
space; the same introverted logic reveals itself in a window that runs
the length of the building, discreetly marking the new places in its
interior.
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120
Doors, Chile / Mauricio Pezo and Sofía von Ellrichshausen
Much
of the architecture we observe takes the promenade as a central issue,
where space and time adjust and mutually inform to create the experience
of the work. There is a paradox here: a severe building, based on a
precise formal structure and an austere repertory of elements, can over
time create a vision of reality that is multiple, exuberant, even chaotic.
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Public Pavilions, Argentina / Rafael Iglesia
Our
faith in so-called progress draws us unresisting to new trends, new
materials, new practices. The logic that discounts a priori the old
or the existing works in opposition to other, archaic, brutal solutions
that still trust to piling up and compression, disregarding the accelerated
cycles of technical obsolescence. Stones, wedges and logs, un-jointed,
unchanging, balance the load against the forces of gravity.
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SLGM
House, Chile / Sergio Larraín. Text: Cecilia Puga
The work of architecture should be seen as a story that never ends.
Terms like finished, finite, even author enter into conflict with issues
of current validity, permanence and the contemporary. Converted spaces,
overlapping authors, and hybrid qualities, unthinkable from the totalitarian
outlook of the plan, are the only way to understand how a work can be
seen as contemporary, independent of its construction date.
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Demolition
and closure / Alberto Sato
The modern world has dismantled the myth of eternity. Today’s
building processes tend towards the organic; the materials have a limited
lifetime and are subject to unavoidable physical or cultural obsolescence,
their decay necessary to keep industry active. The speeding up of these
processes raises the question, how does life in the city, which is naturally
continuous, relate to its own construction, to procedures that are multiple,
intermittent, paralyzing, hidden?
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The
lenght of aesthetic experience / José Quintanilla
The relationship between architecture and music has been much studied.
Silence and space seem related, defined by magnitude, expansion, interval;
and architecture in this context is a question of spaces and relationships,
of looking at what lies between things not at the things themselves.
The promenade is perhaps the best way of reading this architecture.
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Two-cycle
garden / Wren Strabucchi and Sandra Iturriaga
With the garden city as their model, some Santiago neighborhoods have
taken the garden as a key to the urban puzzle, as mediator with the
street, private expansion within the block, link with the landscape
of the valley, and regulator for neighbors’ relationships. New
vocations arise as these open un-programmed domestic spaces are incorporated
into the collective sphere, integrated through actions that create a
whole, yet take account of each part.
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PREVI
Lima: 35 years after / Equipo Arquitectura
To adapt to the inhabitant’s needs, give space to his dreams,
to last, shelter, enable: this could describe the qualities of a good
house, although putting them into practice may mean the gradual disappearance
of the original structure. ¿How can the architect resist this
sentence? Perhaps by accepting a degree of independence and vitality
in the architecture, set free the moment the work is finished.
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ARQ
Books: José Cruz Ovalle. Hacia una nueva abstracción
Martín Hurtado Covarrubias
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MAGAZINE
ARQ 59 Time
