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AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

AMAG 39 IVAN BRAVO | SANTIAGO VALDIVIESO

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EN | PT

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

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SANTIAGO VALDIVIESO

Iván Bravo Architects was founded in 2002 by Iván Bravo, Architect with a master in photography.

Santiago Valdivieso (1986, Chile) studied architecture at the Pontificia Universidad Católica de Chile, achieving his degree of Architect in 2011 with the highest distinction awarded by the school. Since 2015, he has been running his own architectural office.

The studio focuses on small and medium-scale projects, combining resources and practices from architecture, contemporary art, and industrial design. Through a methodology that involves the development of each process of a work, the practice places special emphasis on the definition of constructive details and the material expression of their projects.

Ranging from houses and pavilions to installations and curatorial exercises, projects are driven by a deep interest in form and visual abstraction, seeking to maximize the plasticity of common materials and traditional construction methods.

In 2022 Martín Rojas joined as associate partner, with whom the interdisciplinary project BARO was founded.

INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

IVAN BRAVO

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

39 CURRENT TITLE AMAG 39 IVAN BRAVO (COVER 01) SANTIAGO VALDIVIESO (COVER 02) PUBLICATION DATE 2025 JUNE COLLECTION AMAG MAGAZINE SERIES INTERNATIONAL ARCHITECTURE

In 2018, he completed a Master of Landscape Architecture at the Universitat Politècnica de Catalunya in Spain. His work has been exhibited at Ars Electronica in Linz, Austria (2022) and the Museo de Arte Contemporáneo (MAC) in Chile. In 2022, he was nominated for the Mies Crown Hall Americas Prize (MCHAP) Emerge in Chicago.

Throughout his career, in a continuous horizontal collaboration with local and international teams, his office has won awards and received mentions in both national and international pub-lic competitions.

RUN NUMBER 5000 numbered copies

His work operates as a mediation between technologies, landscapes, ideas, and processes, generating hybrid constructions that range from houses to installations, always engaging with public infrastructure projects.

Spanning solo, collaborative, private, public, and self-initiated projects, his approach integrates diverse scales and disciplines, exploring the intersections between architecture and landscape.

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EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira

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IVAN BRAVO | SANTIAGO VALDIVIESO

EDITORIAL TEAM Ana Leal Filipa Figueiredo Ferreira João Soares Ricardo Figueiredo

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TEXTS AND TRANSLATIONS Page 003 and 005 to 007 originally written in PT by the authors, and translated to EN by AMAG Publisher.

Page 009 to 013 and 110 to 115 originally written in EN by the author, and translated to PT by AMAG Publisher.

Project texts originally written in EN by the authors, and translated to PT by AMAG Publisher.

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AMAG PUBLISHER is an international publisher that carefully conceive, develop, and publishes books and objects directed related to architecture and design. Mainly in 3 different series: MAGAZINE, BOOKS and OBJETS, with a deeply conceptual approach, each collection represents a challenge and a new opportunity for the production of unique and significant books, meeting the highest quality standards and a differentiating design, absent from standard trends, representing significant values and content to inspire each reader and client.

AMAG MAGAZINE (AMAG) is an architecture technical magazine, in print since December 2011, published from March 2023, quarterly and concomitantly, in two series: AMAG (international architecture) and AMAG PT (portuguese architecture).

IVAN BRAVO SANTIAGO VALDIVIESO AMAG PT 10 MENOS É MAIS ARQUITECTOS AMAG 38 AFF ARCHITEKTEN AMAG PT 09 RICARDO CARVALHO ARQUITECTOS AMAG 37 CHRIST & GANTENBEIN AMAG PT 08 CAMILO REBELO AMAG 36 SIMON PENDALL TAYLOR AND HINDS VOKES AND PETERS AMAG PT 07 NUNO MELO SOUSA AMAG 35 LCLA MANTHEY KULA SANDEN+HODNEKVAM AMAG PT 06 SIA ARQUITECTURA AMAG 34 AMAA ASSOCIATES ARCHITECTURE STUDIO WOK AMAG PT 05 AURORA ARQUITECTOS AMAG 33 MILLER & MARANTA AMAG 32 ATELIER ORDINAIRE EGR ATELIER JEAN-CHRISTOPH QUINTON AMAG PT 03 JOÃO MENDES RIBEIRO AMAG 31 JO TAILLIEU ARCHITECTEN STUDIO JAN VERMEULEN GRAUX & BAEYENS ARCHITECTEN AMAG PT 02 BARBAS LOPES ARQUITECTOS AMAG 30 ATELJÉ Ö JOHANSEN SKOVSTED NORRØN AMAG PT 01 DIOGO AGUIAR STUDIO AMAG 29 BOLTSHAUSER ARCHITEKEN LILITT BOLLINGER STUDIO RAPHAEL ZUBER AMAG 28 CLANCY MOORE ARCHITECTS RYAN W. KENNIHAN ARCHITECTS STEVE LARKIN ARCHITECTS AMAG 27 DESCHENAUX ARCHITECTES FELIPPI WYSSEN MARAZZI REINHARDT AMAG 26 TOMOAKI UNO ARCHITECTS AMAG 25 AIRES MATEUS AMAG 24 MORQ AMAG 23 CARMODY GROARKE AMAG 22 VINCENT VAN DUYSEN AMAG 21 WESPI DE MEURON ROMEO AMAG 20 TONY FRETTON ARCHITECTS AMAG 19 TALLER HECTOR BARROSO ESTUDIO MACIAS PEREDO AMAG 18 ÁLVARO SIZA double issue AMAG 17 KÉRÉ ARCHITECTURE AMAG 39

LONG BOOKS (LB) brings together a unique selection of projects that establish new paradigms in architecture. With a contemporary conceptual graphic language, the 1000 numbered copies of each title document works with different scales and formal contexts that extend the boundaries of architectural expression. Each title features one single work, from one single author.

LB 33 VINCENTE VAN DUYSEN casa m LB 32 NICOLA BAVIERA apartment house urdorf LB 31 CAMILO REBELO mim LB 30 CAMILO REBELO ovo LB 29 CAMILO REBELO côa museum LB 28 CHRIST & GANTENBEIN swiss national museum LB 27 LYNCH ARCHITECTS westminster coroner’s court LB 26 AM2 ARQUITECTOS | ARENAS & ASOCIADOS | NOARQ halo LB 25 TOMOAKI UNO terabe house LB 24 KENGO KUMA cam LB 23 SJB 19 waterloo street LB 22 JOSEP FERRANDO social center LB 21 SPASM parikarma house LB 20 VIANA DE LIMA casa das marinhas LB 19 LYNCH ARCHITECTS n2 LB 18 AFF spore initiative LB 17 SO−IL amant LB 16 ÁLVARO SIZA monte da lapa volume l LB 15 PAUL MURDOCH fligth 93 national memorial LB 14 ANGELOS CANDALEPAS the castle LB 13 BRANDENBERGER KLOTER ARCHITECTS school birrwil LB 12 BRANDENBERGER KLOTER ARCHITECTS school aarwangen LB 11 BRANDENBERGER KLOTER ARCHITECTS double kindergarten rüti LB 10 BRANDENBERGER KLOTER ARCHITECTS school pfeffingen LB 09 BRANDENBERGER KLOTER ARCHITECTS culture hall laufenburg POCKET BOOKS (PB) is an assemblage of small publications which compile theoretical texts by various architects or institutions in different collections. These writings reflect different areas of interest and performance in the architectural discourse.

PB 07 ÁLVARO SIZA UNBUILT WORKS | NOTES ON ARCHITECTURE PB 06 IN CLASS WITH TÁVORA TEACHING AND LEARNING (LIVING) TODAY PB 05 PAULO DAVID | THE LESSON OF THE CONTINUITY PB 04 DOING GOOD FAZER BEM DOING WELL PB 03 NOTES ON ARCHITECTURE | BUILDING AROUND ARCHITECTURE FRANCESCO VENEZIA OUTSIDE THE MAINSTREAM PB 02 FORM, STRUCTURE, SPACE NOTES ON THE LUIGI MORETTI’S ARCHITECTURAL THEORY PB 01 EDUARDO SOUTO DE MOURA LEARNING FROM HISTORY, DESIGNING INTO HISTORY SEE FULL COLLECTIONS at WWW.AMAGPUBLISHER.COM

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LONG BOOKS brings together a unique selection of projects that establish new paradigms in architecture.

With a contemporary conceptual graphic language, the 1000 numbered copies of each title document works with different scales and formal contexts that extend the boundaries of architectural expression.

Each title features one single work, from one single studio.

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EL GAUCHAL HOUSE project: 2020 location: Navidad, Chile collaborator: Martín Rojas and Gino León gross built area: 111m2 images: © Bruno Giliberto and Marcos Zegers

CASA BLANCA project: 2024 location: Puchuncaví - Valparaíso, Chile gross built area: 150 m2 images: © Cristóbal Palma

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ALADINO HOUSE project: 2021 location: Puerto Varas, Chile collaborator: Martín Rojas gross built area: 100m2 images: © Marcos Zegers

TAM HOUSE project co-authored with Martín Rojas Ortiz project: 2024 location: El Arrayán, Chile collaborator: Juan Oyarzún gross built area: 174 m2 images: © BARO

POCKET BOOKS are an assembly of small books that compiles theoretical texts by different architects.

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ENGAWA HOUSE project: 2019 location: Punta Pite - Valparaíso, Chile collaborator: Elías Maturana gross built area: 257 m2 images: © Cristóbal Palma

HUMO HOUSE project co-authored with Martín Rojas Ortiz project: 2023 location: Futrono, Chile collaborator: Juan Oyarzún gross built area: 185 m2 images: © Marcos Zegers and BARO

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ORQE HOUSE project: 2016 location:Santiago, Chile collaborator: Elías Maturana gross built area: 136 m2 images: © Aryeh Kornfeld

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CRUZ HOUSE project: 2023 - 2025 location: Santiago, Chile collaborator: Juan Oyarzún gross built area: 2170 m2 images: © BARO CASA LOBO pavillion project: 2018 location: GAM - Santiago, Chile collaborator: Gino León, Gabriel Caceres and UNAB students gross built area: 42 m2 images: © Bruno Giliberto ENFERMEDADES PRECIOSAS pavillion project: 2019 location: CCU gallery - Santiago, Chile collaborator: Iván Zúñiga and UNAB students images: © Felipe Fontecilla

PALAPAS HOUSE project: 2024 location: Cachagua - Valparaíso, Chile gross built area: 436 m2 images: © Cristóbal Palma HOUSE IN 30° project: 2024 location: Santiago, Chile gross built area: 392 m2 images: © Cristóbal Palma ECHO HOUSE project: 2025 location: Zapallar, Chile gross built area: 201 m2 images: © Cristóbal Palma A HOUSE ON A SLOPE project: 2025 location: Ilihue - Lago Ranco, Chile gross built area: 108 m2 images: © Cristóbal Palma LIQUID SKY project: 2022 location: Coyo, Atacama Desert, Chile and Linz, Austria collaborator: Mauricio Lacrampette, Diego Gajardo, Santiago Valdivieso, Lucas Margotta and Sebastián De Andraca images: © Estudio Ibañez and © Sebastián Arriagada

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CUSTOM SOLUTIONS FOR ARCHITECTURAL CASING.

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Module One in Henderson, Nevada

By Daniel Joseph Chenin, FAIA, LEED AP BD+C

Nestled at the base of a rugged rockside in Henderson, Nevada, Module One is the personal residence of architect Daniel Joseph Chenin, FAIA. Designed as a study in restraint and resilience, the home draws its power from material honesty and a deep-rooted connection to its desert terrain.

Constructed from stacked concrete block and blackened steel, the

structure mirrors the geological formations that surround it, anchoring into the land with quiet force. To achieve a sense of both enclosure and transparency, Titoni Window Steel Systems were selected for their precision craftsmanship and minimal profiles. The slim sightlines allow the architecture to remain the visual focus while enhancing the fluidity between interior and exterior. Their raw steel finish

harmonizes with the material palette, reflecting the same elemental rigor that defines the home itself.

More than a residence, Module One is a personal manifesto, a place where architecture becomes a lived philosophy, shaped by climate, light, and landscape. Rooted in place, it stands in elemental dialogue with its environment: enduring, quiet, and undeniably of the desert.

© Silje Kverneland

Herdade da Malhadinha Nova, 7800-601 Albernoa, Beja, Portugal

www.malhadinhanova.pt

MINIMALIST, TIMELESS AND IMMERSIVE These are some of the adjectives that define the wellness space at Herdade da Malhadinha Nova, designed by the Aires Mateus studio and with exclusive facial treatments in the Alentejo by the Azorean brand IGNAE.

001

INDEX

THOUGHTS FROM THE EDITOR

by Ana Leal A SYNTHETIC LANDSCAPE

by José Manuel Pedreirinho ABOUT IVAN BRAVO AMBIVALENCE ORQE HOUSE EL GAUCHAL

ALADINO HOUSE HUMO HOUSE 003 TAM HOUSE CRUZ HOUSE 005 CASA LOBO ENFERMEDADES PRECIOSAS MACIZO 007 ABOUT SANTIAGO VALDIVIESO 013 TECHNOLOGIES FOR 025 BECOMING A MOUNTAIN

039 053 067 077 085 095 103 109

ENGAWA HOUSE CASA BLANCA PALAPAS HOUSE HOUSE IN 30° ECHO HOUSE A HOUSE ON A SLOPE LIQUID SKY

115 125 135 145 161 169 183

CREDITS

187

ABOUT THE AUTHOR

Pedro Livni (Montevideo, 1973).

Curator of the Uruguayan Pavilion at the 2012 Venice Biennale, he is an architect from the University of the Republic of Uruguay (2002) and holds a Master’s degree in Architecture from UC (2011). He currently teaches at Torcuato Di Tella University in Buenos Aires, and is the founder of livni+, based in Montevideo, the architecture criticism platform VOSTOKPROJECT, and the exhibition space 8 ½.

BY PEDRO LIVNI ABOUT IVÁN BRAVO

009

AMBIVALENCE

In practice, most architects design. However, some architects both design and build. As Robin Evans noted, the appropriate translation between design and construction lies at the heart of the architectural act.

Those of us familiar with the work of Iván Bravo Arquitectos, a studio founded by Iván Bravo in 2002, know that it stems from a particular way of working: the world of construction. Despite the diverse interests of the multifaceted Iván Bravo — who moves fluidly across architecture, design, art, and photography — this assertion is grounded in the fact that, prior to developing his own projects (up until the first decade of this century), the studio primarily focused on building the work of others. This particular way of practicing — and surviving — has led to a condition where Iván Bravo Arquitectos not only develops projects, like most architecture studios, but also, as in most of the works presented here, handles their construction. A dual condition that allows for greater control over the translation and material execution of projects, but which also demands mastery of a wide range of skills and competencies not always found in architects who only design.

Among the works presented here, one aspect that stands out — and can serve as a guiding thread to approach the practice of Iván Bravo Arquitectos — is the presence of what appears to be a dual, seemingly contradictory condition, which I will provisionally call ‘ambivalence.’ To address this, I will begin by commenting on some of the attributes of the 1 project ‘Macizo,’ which, for me, served as a Trojan Horse to discover Iván Bravo. This work also speaks to the expanded field within which the studio operates, where the boundaries between architecture, art, and execution begin to dissolve.

Contrary to the name of the work2, ‘Macizo’ is a mold made on-site using metal foil on the base and shaft of one of the monumental Corinthian columns that

mark the entrance to the former National Congress building in Santiago, Chile. Two hundred and fifty-four sheets of metal foil were later reassembled — like a puzzle — in a small exhibition space in Montevideo.

The resulting piece, an echo of a previous material presence, appears from afar as a massive fragment of a large column. However, upon closer inspection, a careful eye reveals an extremely fragile and hollow object, composed of meticulously assembled fragments. A piece whose origin is stereotomic in its stony quality, yet tectonic in reality due to its resemblance to a textile patchwork. This ambivalence becomes the substantive foundation for the construction of meaning.

This ambivalence also persists in the proper architectural work, and it is arguably the distinctive trait that situates the production of Iván Bravo Arquitectos within the Chilean architectural context.

I refer to the body of work to date — mostly singlefamily houses — which could be perceived as a series of carved solids. Yet in their materially ambivalent reality, they result from the intrinsic logic of timber construction. Clean exterior volumes that, in their reverse, reveal the mechanisms that make them possible.

By dispensing with eaves and avoiding the overstatement of structure — a theme prevalent in contemporary Chilean architecture — the body of work by Iván Bravo Arquitectos is reduced methodologically to a repertoire of geometric operations that model volumes. In turn, the work can be read as a continuous series, evolving from project to project. The rigorous autonomy in formal construction is always altered and challenged by a phenomenological sensitivity to the contextual conditions of each commission and site. Orqe House may be described as a chamfered prism; El Gauchal, as two chamfered prisms; Aladino, as the simple

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2015

ORQE HOUSE Santiago, Chile

e cobertura se fundem numa superfície contínua. O volume encerra os espaços privados a sul, enquanto abre as áreas comuns a norte. A sua forma compacta e despojada evoca os celeiros tradicionais do sul do Chile, Orqe House is conceived as an unfinished concebidos para a protecção e não para a ornamentação. piece, completed by its inhabitants.

It is a structure that does not impose A estrutura é composta por ripas itself but facilitates habitation, balancing de madeira bruta, não aplainada, openness and protection. Half cabin, assentes sobre uma base half refuge, it remains a flexible space de betão. A madeira não tratada Built on uneven terrain, the house where life unfolds naturally. permite o envelhecimento natural, is partially buried toward the street and alterando-se em textura e cor com opens to the north, where a common o tempo. Esta abordagem privilegia space extends into an outdoor terrace.

A Orqe House localiza-se num bairro a clareza estrutural em detrimento dos This configuration reduces the distinction residencial no norte de Santiago. between inside and outside, with a beam O projecto explora a essência da casa como acabamentos decorativos, reforçando o carácter elementar da casa. framing the patio as a flexible transitional abrigo, definida por uma única envolvente space. It can be covered for shade, left contínua. O desenho abstrai a tradicional open in colder periods, or simply remain cobertura de duas águas, encerrando um A cobertura, enquanto elemento definidor do projecto, serve exposed, allowing life to unfold between interior com uma organização espacial simultaneamente de abrigo e de invólucro. the built and natural environments. familiar. Cada elemento funcional é posicionado de forma lógica e expectável, Superfície singular, protege do vento, The house consists of a single wooden permitindo à casa integrar-se naturalmente da chuva e do sol, ao mesmo tempo que unifica toda a estrutura. Ao minimizar shell, where walls and roof merge into one na vida quotidiana. os elementos supérfluos, a casa funciona continuous surface. The volume encloses como um espaço directo e adaptável. private spaces to the south while opening Implantada num terreno desnivelado, communal areas to the north. Its compact a casa encontra-se parcialmente enterrada A Orqe House é concebida como uma and unadorned form recalls traditional do lado da rua e abre-se a norte, onde peça inacabada, completada pelos seus barns in southern Chile, designed for o espaço comum se prolonga numa habitantes. Trata-se de uma estrutura protection rather than ornamentation. varanda exterior. Esta configuração que não se impõe, mas antes facilita reduz a distinção entre interior e exterior, a habitação, equilibrando abertura The structure is built from rough, unplaned com uma viga a enquadrar o pátio como e protecção. Meio cabana, meio refúgio, wooden slats resting on a concrete base. espaço de transição flexível. Pode ser The untreated wood allows for natural coberto para criar sombra, deixado aberto permanece um espaço flexível onde a vida se desenrola naturalmente. aging, changing in texture and color over em períodos mais frios, ou simplesmente time. This approach prioritizes structural permanecer exposto, permitindo que clarity over decorative finishes, reinforcing a vida decorra entre o construído the house’s elemental character. e o natural.

Orqe House is located in a residential neighborhood in northern Santiago.

The project explores the essence of a house as a shelter, defined by a single continuous envelope. The design abstracts the traditional gabled roof, enclosing an interior with a familiar spatial organization. Every functional element is positioned in a logical and anticipated manner, allowing the house to integrate seamlessly into daily life.

A singular surface, it protects against wind, rain, and sun while unifying the entire structure. By minimizing extraneous components, the house functions as a straightforward, adaptable space.

The roof, as the project’s defining feature, serves as both shelter and enclosure.

A casa é constituída por uma única casca de madeira, onde paredes

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01. Polymeric membrane 02. Cladding in timber board, 1”x6” 03. Horizontal batten 1”x2” 04. Vertical batten 1”x2” 05. Tyvek (vapour-permeable membrane) 06. 15mm structural plywood 07. Spray-applied polyurethane insulation, thickness: 50mm 08. Timber nogging 2”x4” 09. Timber beam 2”x8” 10. IPE steel beam 400x100x5 mm 11. Square hollow steel section 50x50x5 mm 12. U-profile steel section 200x120x5 mm

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13. Planed pine timber 2”x8” 14. Timber cladding, nominal dimension 1”x6” 15. Roofing felt / bituminous felt 16. 9.5mm OSB 17. Metalcon lintel 90CA085 18. Composite Metalcon beam 19. Steel angle profile <80x80x6 mm 20. Triple sliding aluminium window 21. Double glazing / insulated glazing unit (IGU), thickness: 20mm 22. Window head in pine timber, 1”x6” 23. Rough tongue-and-groove timber boarding, ¾”x6”

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EL GAUCHAL HOUSE Navidad, Chile

El Gauchal House is located a few meters from the coast, overlooking Navidad Bay in central-southern Chile.

The site is where a typical forest of the region meets a previously industrial coastline, now being redeveloped as a holiday destination. The project was commissioned by four families — 14 people in total — who decided to share a second home. Their diverse requirements are brought together in a single volume, constrained to 111m².

Unlike the typical low-rise beach houses in Chile, this structure rises vertically to maximize views from the upper terrace while avoiding obstructions from neighboring homes. Elevating the house alters conventional spatial organization, shifting the relationships between spaces along a vertical axis.

Perpendicular and oblique axes interact, guiding the placement of openings, site boundaries, and external pathways.

The house is entirely built of wood, with concrete floors that vary in texture — smooth and polished outside, rougher inside. The walls are clad in untreated wooden planks with distinct finishes: an inert gray interior, softening the sense of newness, and a bright white exterior that shields against coastal conditions, acting as both a protective shell and reflective surface.

A El Gauchal House situa-se a poucos metros da costa, com vista sobre a baía de Navidad, na zona centro-sul do Chile.

O terreno marca o ponto de encontro entre um bosque típico da região e uma linha costeira anteriormente industrial, The project follows a repetitive logic actualmente em processo de reconversão in both plan and section, creating como destino veraneio. O projecto foi symmetry that dissolves a single dominant encomendado por quatro famílias — catorze orientation, like the silhouette of the pessoas no total — que decidiram partilhar house that remains identical in plan and uma segunda habitação. As suas exigências elevation. A central void runs through the diversas são reunidas num único volume, entire house, accommodating circulation limitado a 111 m². while expanding the perception of shared spaces. Four identical private Ao contrário das habituais casas de praia rooms — one per family — are placed de um só piso no Chile, esta estrutura at opposite ends of each level, ensuring ergue-se verticalmente para maximizar equal proximity to the core. The uniform as vistas a partir do terraço superior, room sizes eliminate exclusivity, making evitando ao mesmo tempo as obstruções the house function like a shared retreat. provocadas pelas habitações vizinhas.

A elevação da casa altera a organização Externally, the massing is defined espacial convencional, deslocando by a single design move that folds the as relações entre os espaços ao longo main façade and roof, blending them de um eixo vertical. into a continuous form. This operation obscures the usual distinction between O projecto segue uma lógica repetitiva, walls and roof, unifying the structure. tanto em planta como em corte, criando

uma simetria que dissolve qualquer orientação dominante — tal como a silhueta da casa, idêntica em planta e em alçado. Um vazio central percorre toda a casa, servindo simultaneamente de zona de circulação e elemento que amplia a percepção dos espaços comuns. Quatro quartos privados, todos iguais — um por família —, distribuemse nos extremos opostos de cada piso, assegurando igual proximidade ao núcleo central. A uniformidade na dimensão dos quartos elimina hierarquias, fazendo com que a casa funcione como um refúgio partilhado.

Exteriormente, a volumetria é definida por um único gesto formal: o dobrar da fachada principal com a cobertura, fundindo-as numa forma contínua. Esta operação dissolve a distinção habitual entre paredes e cobertura, unificando o volume.

Eixos perpendiculares e oblíquos cruzam-se, orientando a disposição das aberturas, os limites do terreno e os percursos exteriores.

A casa é inteiramente construída em madeira, com pavimentos em betão de texturas variadas — suave e polido no exterior, mais rugoso no interior.

As paredes são revestidas com tábuas de madeira não tratada com dois acabamentos distintos: um cinzento inerte no interior, que atenua a sensação de novidade, e um branco brilhante no exterior, que protege contra as condições marítimas, actuando simultaneamente como invólucro protector e superfície reflectora.

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01. Instapanel A1 board 02. Roofing felt 03. Ceiling/floor joist 2"x4" 04. 15mm OSB 05. Dry-dimensioned timber beam 2"x4" 06. Ceiling cladding board 1"x4" 07. Water-cut zinc flashing, length: 18 cm 08. Double top plate termination (2x 2"x4") 09. Top plate 2"x4" 10. Timber cover board 1"x4" 11. Timber nogging 2"x4" @ 50 cm spacing 12. Peri shuttering panel, thickness: 12 mm 13. Helicopter-finished polished concrete slab, thickness: 6 cm 14. ACMA C-139 reinforcement mesh 15. 4" nails @ 12 cm spacing 16. Ceiling board 1"x4" 17. Nylon 18. Intermediate floor beam 2"x8" @ 50 cm 19. Rotated timber nogging 2"x4" 20. Timber quadrant moulding 10x10 mm

21. Bottom plate 2"x4" 22. Perimeter beams, doubled 2"x8" 23. Cover board 1"x4" 24. Top plate 2"x4" 25. Peri formwork panel, thickness: 12 mm 26. Fisiterm 27. Aislapol 50 mm 28. Interior cladding board 1"x4" 29. Lintel beam, doubled 2"x8" 30. Water barrier detail 31. Black aluminium frame 32. Patch-applied bonded glazing 33. Timber board 1"x4" 34. Timber cover 1"x4" 35. 8"x8" timber post treated with Igol 36. Backfill above foundation 37. Natural soil 38. Standard pad foundation (“pollo” type) 39. Anchor rebars 40. Blinding concrete

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041

2021

ALADINO HOUSE Santiago, Chile

Aladino House is the articulation of two kinds of architectures: residential and utilitarian; contemporary and rural; contrast and mimesis. Both are expressed in a single monumental structure that stands over the landscape.

Located in a clearing in southern Chile, the house is elevated on posts nearly a meter above the ground, allowing streams to flow toward a lagoon in front of the main façade. Its sharply triangular geometry, juxtaposed with the organic surroundings, highlights the contrast between nature and the built environment.

The program is divided into two equal halves: one side serves as a reception and storage facility for a private park, while the other houses Aladino, the park ranger. The structure’s geometry dictates that each space follows an identical section, with circulation occurring through a series of central doorways extending from one end to the other.

spaced 60 cm apart. Transversal beams placed every two modules define spatial rhythm and mezzanine levels.

The rigidity of this system eliminates the need for walls, creating an uninterrupted interior where two roof planes support each other, extending the house’s height to accommodate habitable.

A Aladino House constitui a junção entre dois tipos de arquitectura: a residencial e a utilitária; a contemporânea e a rural; o contraste e a mimese. Ambas são expressas numa estrutura monumental que se eleva sobre a paisagem.

On the exterior, the 30-meter-long volume maintains a silent presence through a neutral, monochrome façade with minimal openings, recalling the traditional larch shake barns of the region.

Implantada numa clareira no sul do Chile, a casa encontra-se elevada sobre estacas a quase um metro do solo, permitindo o escoamento natural das linhas de água em direcção a uma lagoa situada diante da fachada principal.

A sua geometria acentuadamente triangular, em justaposição com o carácter orgânico da envolvente natural, acentua o contraste entre natureza e construção.

O programa divide-se em duas metades simétricas: um dos lados funciona como área de recepção e armazém de apoio a um parque privado; o outro acolhe Aladino, o guarda-florestal responsável pelo mesmo. A geometria da estrutura dita que cada espaço siga uma secção idêntica, com a circulação a ocorrer por meio de uma sucessão de vãos centrais que se prolongam de uma extremidade à outra.

The structural system is fully expressed both inside and out, composed of a uniform dimensional lumber section

A ausência de corredores elimina qualquer hierarquia espacial, tornando visível a totalidade do edifício à medida

The absence of corridors eliminates spatial hierarchy, making every part of the building visible as it is traversed.

Interior differentiation is achieved through a restrained palette of colors and textures. Materials are sequentially revealed along the house, exposing every joint and construction detail.

que se percorre. A diferenciação interior é obtida por uma paleta contida de cores e texturas. Os materiais são revelados de forma sequencial ao longo da casa, expondo cada união e detalhe construtivo.

No exterior, o volume com 30 metros de comprimento mantém uma presença silenciosa através de uma fachada neutra e monocromática, com aberturas mínimas, evocando os celeiros tradicionais de revestimento em madeira de lariço da região.

O sistema estrutural é totalmente exposto, tanto no interior como no exterior, composto por perfis uniformes de madeira serrada com espaçamento regular de 60 cm. Vigas transversais colocadas a cada dois módulos definem o ritmo espacial e os níveis de mezanino.

A rigidez deste sistema torna dispensável a construção de paredes divisórias, permitindo um espaço interior contínuo, onde dois panos de cobertura se sustentam mutuamente, conferindo à casa a altura necessária para albergar espaços habitáveis.

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01. 1+1 Pine Timber 2x8” – Cut End Trim 02. Crown Cladding Finish 03. Common Nail 2” 04. Roof Truss Joint Reinforcement 1x8” Pine 05. Treated Pine 2x2” @60cm c/c with Carbolineum 06. Fibre Cement Board 8mm thick 40x55cm – 10cm overlap 07. Corrugated Zinc Sheet – 5V Profile 08. Roofing Felt Paper 09. Treated, Kiln-Dried Pine Batten 2x1” @30cm 10. Kiln-Dried Pine Bracing 2x2” @60cm 11. Fisiterm Double Layer – 40mm 12. Expanded Polystyrene – 50mm 13. Cladding Boards – Kiln-Dried Pine 1x4” 14. Roof Rafters – Kiln-Dried Pine 2x4” @60cm 15. Support Beam 2x6” – Kiln-Dried Pine @120cm 16. Beam Joint Reinforcement – 1+1 1x4” Kiln-Dried Pine

|0

17. Floor Joist – Kiln-Dried Pine 2x4” @60cm 18. Folded Zinc Roofing 19. Folded Zinc Drip Edge (Water Flashing) 20. Aluminium Casement Window Frame 21. Single Glazing 22. Trim Piece – Kiln-Dried Pine 2x3” 23. Ceiling Boards – Kiln-Dried Pine 1x4” 24. 20mm Plywood – Kitchen Roof Deck 25. Wall Plate 2x4” – Kiln-Dried Pine 26. Stud – 2x4” Kiln-Dried Pine 27. Fibre Cement Board 8mm thick 40x55cm 28. Double Wall Plate – 2x4” Kiln-Dried Pine 29. 1/2” Bolt with Washer 30. Lower Beam 2x6” – Kiln-Dried Pine @60cm 31. Intermediate Joists – 2x4” 32. Longitudinal Beam 2x6” – Kiln-Dried Pine

| 0.2

33. Tongue-and-Groove Floorboard – 1x4” 34. 18mm Structural Plywood 35. Transversal Beam 2x4” @60cm 36. Fisiterm + Polystyrene Insulation – 100mm 37. OSB Board 9.5mm 38. Structural Posts 5x5” – Treated Pine @120cm 39. Diagonal Bracing – Treated Pine 2x4” @120cm 40. Sikadur 41. Welded Steel Channel 50x125 x 100mm 42. Ribbed Steel Reinforcement Bar 43. Foundation Beam 15x30cm 44. Beam ACMA 1530 45. Standard Foundation Footing 46. Anchor Bars 47. Natural Soil 48. Lean Concrete Blinding

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055

2023

HUMO HOUSE Futrono, Chile

This house was designed for a couple who have never lived together, each residing in their own flats just meters apart in the capital. This holiday home marks their first time sharing a roof.

Located in southern Chile, the house sits in a natural clearing on a long plot ending at a lake, bordered by trees and a small stream. The dense vegetation obscures the surroundings, with only the river’s flow hinting at the lake’s direction.

Both interior and exterior are clad in raw timber slats, stained individually to create a rough, weathered appearance that blends into the foggy surroundings.

A winding path connects two ponds, passing through the entrance and terrace before crossing the stream to a fire pit. Beyond the trees, a secluded bay offers the first glimpse of the lake, framed by dense vegetation.

Humo House explores domestic dichotomies. An 11m cube, split along two facades, organizes the home around contrasts. The larger facades open to distant lake views, while the smaller ones remain mostly closed, sheltering the entrance.

A Humo House foi concebida para um casal que nunca viveu junto, cada um habitando o seu próprio apartamento, separados apenas por alguns metros na capital. Esta casa de férias assinala o primeiro momento em que partilham o mesmo tecto.

Public areas occupy one half in an all-height open space, while private spaces are stacked across three levels in the other half, designed for the owners and their guests. A central element, a long larch table, dominates the ground floor, serving as both a dining table and kitchen unit. A lowered section allows for comfortable cooking while sharing the same surface as diners.

Localizada no sul do Chile, a casa implanta-se numa clareira natural de um terreno longitudinal que termina num lago, ladeado por árvores e um pequeno curso de água. A vegetação densa obscurece a paisagem envolvente, sendo apenas o som da corrente a sugerir a direcção do lago.

Two master bedrooms on the first floor — one for him, one for her — are separated yet connected via facing doors and a shared corridor, allowing intimacy without sacrificing independence.

Above, a study overlooks the open space, where the roof’s geometry narrows dramatically before expanding to reach the entire height of the house.

A Humo House explora dicotomias domésticas. Um cubo de 11 metros, seccionado ao longo de duas fachadas, organiza a casa em torno de contrastes.

As fachadas maiores abrem-se a vistas distantes para o lago, enquanto as fachadas menores permanecem maioritariamente encerradas, protegendo a entrada.

As áreas públicas ocupam uma metade da casa, num espaço aberto de pé-direito total, enquanto as áreas

privadas se organizam na outra metade, empilhadas em três níveis, destinados aos proprietários e aos seus convidados.

Um elemento central — uma longa mesa em madeira de lariço — domina o piso térreo, funcionando simultaneamente como mesa de jantar e unidade de cozinha. Uma secção rebaixada permite cozinhar confortavelmente, partilhando a mesma superfície com quem está sentado à mesa.

Duas suítes principais no primeiro piso — uma para ela, outra para ele — estão separadas, mas ligadas por portas opostas e um corredor comum, permitindo intimidade sem abdicar da autonomia.

No nível superior, um escritório com vista sobre o espaço aberto acompanha a geometria da cobertura, que se estreita abruptamente antes de se expandir para alcançar toda a altura da casa.

Tanto o interior como o exterior são revestidos com ripas de madeira em bruto, tingidas individualmente para criar uma aparência áspera e envelhecida, integrando-se subtilmente no nevoeiro característico da paisagem.

Um percurso serpenteante liga dois pequenos espelhos de água, atravessando a entrada e o terraço antes de cruzar o riacho até chegar a uma área para fogueiras. Para além das árvores, uma enseada recôndita oferece o primeiro vislumbre do lago, enquadrado pela vegetação densa.

PROJECT CO-AUTHORED WITH MARTÍN ROJAS ORTIZ

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HUMO HOUSE

01. Ridge flashing in galvanised sheet metal 02. Planed pine, dry-dimensioned, 2”x6” with rebate 03. Steel tubular beam 200x150x4 mm 04. Top plate in dry-dimensioned pine 2”x4” 05. Cladding in dry-dimensioned pine 1”x4” 06. Roofing felt 07. Double layer of Fisiterm insulation, thickness: 4 cm 08. Expanded polystyrene insulation (Aislapol), thickness: 5 cm 09. Steel channel profile, doubled, 200x50x4 mm 10. OSB board, thickness: 15 mm 11. Dry-dimensioned pine purlin 2”x2” @ 60 cm centres 12. Structural plywood, thickness: 15 mm 13. Tyvek vapour-permeable membrane 14. KR-24 roofing panel 15. Roof beam in dry-dimensioned pine 2”x8” @ 60 cm centres 16. Vertical cladding in native timber, face-fixed 17. Horizontal batten in impregnated pine 1”x2” @ 40 cm centres

18. Vertical batten in impregnated pine 1”x2” @ 40 cm centres 19. OSB board, thickness: 12 mm 20. Horizontal bracing (ledger) in dry-dimensioned pine 2”x4” 21. Horizontal batten in dry-dimensioned pine 2”x2” @ 40 cm centres 22. Vertical cladding in dry-dimensioned pine 1”x4” 23. Bottom plate in dry-dimensioned pine 2”x4” 24. Dry-dimensioned pine 2”x2” 25. Perimeter steel beam, double channel 200x50x4 mm 26. Dry-dimensioned pine 2”x8” 27. Lintel in dry-dimensioned pine, double 2”x6” 28. Vertical cladding in native timber, face-fixed 29. Dry-dimensioned pine 2”x3” 30. Steel angle profile 40x40x4 mm 31. Sheet metal with drip edge 32. Window frame as specified 33. Double-glazed (thermopane) glass 34. 4” nail @ 12 cm spacing

35. Polished concrete slab (helicopter finish), thickness: 6 cm 36. ACMA mesh as per structural design 37. Polyethylene sheet 38. Dry-dimensioned pine 1”x4” 39. Dry-dimensioned pine 2”x8” with rebate 40. Composite beam Va4-1+1 Ca 200x50x3 mm 41. Intermediate floor beam in dry-dimensioned pine 2”x8” 42. OSB board, thickness: 12 mm 43. Horizontal cladding in native timber, face-fixed 44. Bottom plate in dry-dimensioned pine 2”x4” 45. Connection bracket to be defined with structural engineer 46. Timber beam Vm1 – 2”x8” impregnated @ 57 cm centres 47. Fibre cement board, thickness: 8 mm 48. Concrete G-17 (90% characteristic strength) 49. Steel reinforcement Fe 4Ø10 mm @ 20 cm centres 50. Steel reinforcement Fe Ø8 mm @ 20 cm centres 51. Natural ground

069

2024

TAM HOUSE El Arrayán, Chile

Casa Tam is one more iteration in a sequence of rewritings. It is a comprehensive renovation of a house already expanded and altered on two prior occasions. Somewhere between new construction and palimpsest, the project takes fragments of original layouts and extends them into new spatial continuities, intertwining them with axes from later interventions.

Located on the foothills of the Andes, on the outskirts of Santiago, the house raises its front façade — a gesture of urban character — while turning its back to the mountains. Its roof mirrors the slope it faces, descending nearly to meet the ground and reducing the rear elevation to a thin, semi-buried strip intimately connected to the garden.

The open, double-height area facing the interior garden contains the living-dining room and the main bedroom. The other half, facing the street, accommodates service areas like the kitchen and the owner’s ceramics workshop.

Upstairs, two children’s bedrooms are joined by a central shared studio.

In the lower level, the intervention uses reinforced concrete elements that tie together the various construction systems layered across the house’s history. The upper floor is a lightweight construction to avoid overburdening the original foundations, designed for a single story.

The contrast between the different layers of the house’s past remains visible in its interior. Shifts in material appear on surfaces, unified only by a coat

of white paint. Openings — cut through interior and exterior walls — reveal their original wall past, embracing the honesty of the intervention. Outside, the entire house is clad in a standing seam metal skin. While the interior exposes the layering of time, the exterior reads as a monolithic, single-material volume.

In front of the main façade, the only entirely new addition emerges: the kiln room.

Clad in wood and painted white, it stands as the signature of this most recent reinvention — a plastic and programmatic trace of the latest rewriting of this home.

A Tam House é mais uma iteração numa sequência de outras reescritas.

Trata-se de uma renovação abrangente de uma casa já ampliada e alterada em duas ocasiões anteriores.

Em algum ponto entre a construção nova e o palimpsesto, o projecto recolhe fragmentos das plantas originais e prolonga-os em novas continuidades espaciais, entrelaçando-os com os eixos das intervenções posteriores.

Situada nos sopés dos Andes, na periferia de Santiago, a casa eleva a sua fachada principal — um gesto de carácter urbano — enquanto vira as costas à montanha. A cobertura espelha a inclinação que enfrenta, descendo quase até tocar o chão e reduzindo a elevação traseira a uma faixa fina e semi-enterrada, intimamente ligada ao jardim.

A zona aberta, de pé-direito duplo, virada para o jardim interior, alberga a sala de estar e de jantar e o quarto principal.

A outra metade, virada para a rua, acolhe as áreas de serviço, como a cozinha e a oficina de cerâmica do proprietário.

No piso superior, dois quartos infantis são unidos por um estúdio partilhado central.

No piso inferior, a intervenção utiliza elementos em betão armado que articulam os vários sistemas construtivos sobrepostos na história da casa.

O piso superior é uma construção leve, para evitar sobrecarregar as fundações originais, concebido para um único piso.

O contraste entre as diferentes camadas do passado da casa permanece visível no seu interior. Mudanças de material aparecem nas superfícies, unificadas apenas por uma demão de tinta branca.

Aberturas — cortadas nas paredes interiores e exteriores — revelam o passado das paredes originais, abraçando a honestidade da intervenção.

No exterior, a casa inteira é revestida por uma pele metálica de juntas de topo.

Enquanto o interior expõe a estratificação do tempo, o exterior lê-se como um volume monolítico, de material único.

Perante a fachada principal, surge a única adição inteiramente nova: a sala do forno. Revestida a madeira e pintada de branco, ela ergue-se como a assinatura desta mais recente reinvenção — uma marca plástica e programática da última intervenção nesta casa.

PROJECT CO-AUTHORED WITH MARTÍN ROJAS ORTIZ

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TAM HOUSE

01. Galvanised sheet metal flashing 02. KR-24 roof panel 03. Beam type 01 04. Top track 92C085 05. Horizontal batten, dry pine 2” @ 50 cm centres 06. Sprayed polyurethane insulation, thickness: 1 inch 07. Tyvek vapour-permeable membrane 08. OSB board, thickness: 12 mm 09. Volcanita, thickness: 10 mm 10. OSB board, thickness: 15 mm 11. Roof purlin 35/OMA085 @ 40 cm centres 12. Beam type 02 13. Sprayed polyurethane insulation, thickness: 2 inches 14. Roofing felt

15. Pine cladding, dry-dimensioned, 1”x6” 16. Bottom track 92C085 17. Window frame 18. Patch-installed double-glazed unit 19. Top plate, dry pine 2” 20. Planed pine frame 1”x7” 21. Bottom plate, dry pine 2” 22. Planed pine 1”x6” 23. Polyethylene sleeve 24. 4” nail @ 12 cm spacing 25. Concrete slab (radier) 26. Epoxy paint finish 27. Metal stud 90CA085 @ 40 cm centres 28. Sprayed polyurethane insulation

29. Double stud in dry-dimensioned pine 2”x6” (1+1) 30. Existing reinforced concrete beam 31. Beam in dry-dimensioned pine 2”x6” 32. Fine plaster finish 33. Masonry wall 34. Existing polished Batuco pavers 35. Concrete slab: existing thickness 7 cm / new to be levelled 36. Compacted gravel, thickness: 10 cm 37. Protective grille 38. Existing foundation 39. Compacted soil 40. Natural ground

081

2023 - 2025

CRUZ HOUSE Santiago, Chile

To a certain extent, this project is more a geometric challenge than a conventional commission: fitting a regulation-size tennis court into a residential urban plot. Only then — and within the space left over — does the architectural brief begin: a house for ten people.

of vaults — curved, angular, flat, transverse, longitudinal — while subtle floor shifts reflect programmatic needs.

In this way, the interior is experienced as a continuous sequence of diverse spaces, despite the invariable frame that runs along the entire project.

The irregular shape resulting from the court’s placement suggested a compact, perhaps vertical, program.

As if the project’s catalyst had become its main obstacle. Casa Cruz seeks to do the opposite: to grow from the geometry of the court itself.

All structural elements are made from solid CLT panels. Exterior components include an insulation core, that along the wood ensure interior comfort without thermal bridges. Exposed faces of the panels are left unpolished, highlighting the raw tectonic character of the material and situating Casa Cruz within the studio’s broader commitment to material expressiveness.

The court’s two open edges stretch across the site, becoming the main axes of an eccentric cross. Each arm hosts a part of the program: public areas, children’s rooms, main suite, and leisure. In turn, four distinct patios are formed: entrance, contemplation, relaxation, and tennis.

A continuous walkway and overhang run along the entire perimeter, creating a uniform exterior — nearly indistinguishable — acting as neutral boundaries to the space they enclose.

The four short ends of the cross form blind façades, merging with the perimeter walls. The roof is fully walkable, serving as a tennis viewing deck and a hardscape terrace that preserves the surrounding greenery.

Inside, each room is defined by the courtyard it faces and the profile of its extrusion. Openings allow windows to slide completely along the facade, dissolving the boundary between interior and exterior. In section, the house becomes a sort of catalogue

Até certo ponto, este projecto é mais um desafio geométrico do que uma encomenda convencional: encaixar um campo de ténis de dimensão regulamentar num lote urbano residencial.

Só depois — e no espaço que sobra — começa o programa arquitectónico: uma casa para dez pessoas.

A forma irregular resultante da colocação do campo sugeria um programa compacto, talvez vertical. Como se o catalisador do projecto tivesse-se tornado o seu principal obstáculo. A Cruz House procura fazer o oposto: crescer a partir da própria geometria do campo.

Por sua vez, formam-se quatro pátios distintos: entrada, contemplação, relaxamento e ténis.

Um passeio contínuo e um beiral passam todo o perímetro, criando um exterior uniforme — quase indistinto — que actua como limites neutros para o espaço que encerram.

As quatro extremidades curtas da cruz formam fachadas cegas, fundindo-se com as paredes do perímetro. A cobertura é totalmente acessível, funcionando como um miradouro para o campo de ténis e como uma esplanada dura que preserva a vegetação envolvente.

No interior, cada divisão se define pelo pátio que enfrenta e pela forma da sua extrusão. As janelas deslizantes dissolvem a fronteira entre interior e exterior. Em secção, a casa revela um catálogo de abóbadas — curvas, angulares, planas, transversais e longitudinais — enquanto subtis desníveis no piso respondem às necessidades do programa. Assim, o interior é vivido como uma sequência contínua de espaços distintos, apesar da estrutura constante em todo o projeto.

Toda a estrutura é feita de painéis sólidos de CLT. Os elementos exteriores integram um núcleo isolante que, com a madeira, garante conforto térmico sem pontes térmicas. As faces expostas mantêm-se brutas, destacando o caráter cru As duas arestas abertas do campo do material e alinhando a Cruz House com estendem-se pelo terreno, tornando-se os eixos principais de uma cruz excêntrica. o compromisso do estúdio com a expressividade material.

Cada braço acolhe uma parte do programa: áreas públicas, quartos infantis, PROJECT CO-AUTHORED WITH MARTÍN ROJAS ORTIZ suite principal e lazer.

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DETAIL

01. Folded Zinc Drip Edge, t:1mm 02. Flat Bar Retainer for Concrete Pavers 03. Zinc Joint Cover Cladding, 1mm 04. Rubber Gasket, 4mm 05. Concrete Paving Slab 30x60x4cm 06. Waterstop Seal – EVAC 07. Geotextile Membrane Protection Layer 08. Double XPS Insulation, t:40mm 09. CLT Slab, t:100mm 10. Battens @40cm Centres 11. CLT Wall, t:75mm 12. Exposed CLT, Painted Finish 13. EPS Insulation, t:40mm 14. Metal Fitting for Eaves–Wall Connection 15. Seal Membrane Overlap – EVAC 16. Opening for Seal Passage 17. Flat Bar Retainer for Concrete Pavers 18. Steel Sheet Drip Edge, t:1mm 19. Laminated Timber Eaves Edge 20. Grooved Timber Drip Edge

21. Concrete Paving Slab 30x60x2.5cm 22. Waterstop Membrane – EVAC 23. CLT Eaves, Variable Thickness from 80 to 100mm 24. Double Glazed Unit (Thermopane Glass) 25. Aluminium Profiles 26. Timber Packing Block 27. CLT Wall Projection 28. Garden 29. Topsoil, t:200mm 30. Geotextile Fabric 31. Fine Gravel 32. Coarse Gravel 33. Boulders 34. 10x10mm Drip Edge 35. Cantilevered Slab, Thickness: 130 to 100mm 36. Polished Concrete 37. Slab Reinforcement 38. Compacted Sub-Base, t:200mm 39. Existing Natural Soil 40. Plastic Sheeting (Nylon)

41. Blinding Layer, t:100mm 42. Continuous Strip Foundation 70x80cm 43. Reinforced Concrete Foundation Beam 44. CLT Stair Tread 45. Steel Stair Projection 46. Underfloor Heating Coil Pipe 47. Reinforced Concrete Slab, t:100mm 48. ACMA Mesh According to Structural Design 49. Painted and Varnished CLT Flooring 50. 1+1 CLT Panel, t:60mm, Exposed Finish 51. Rock Wool Insulation, t:30mm 52. Finishing Batten 30x45mm 53. Closet Door – Folded Steel 54. Solid CLT Partition, t:100mm 55. Steel Angle Profile 100x100x5mm 56. Metal Curtain Track 57. Metal Curtain 58. Aluminium Profile 50x50mm 59. Thermopane Rooflight (Skylight) 60. CLT Pilaster 45x225mm

089

pavillion 2018

CASA LOBO

GAM - Santiago, Chile

Wolf house is a pavilion that houses an exhibition on the creative process behind the eponymous film by León & Cociña. The stop-motion animated film tells the story of a young girl’s escape from Colonia Dignidad, a religious sect in southern Chile.

The architecture of the pavilion translates the oppressive and dark atmosphere of the film, and the real story behind, into a tangible spatial experience.

The pavilion is a labyrinth. Its layout follows a strict mathematical sequence, with a centralized plan and double symmetry, yet all this rigor exists solely to disorient. Turns and counterturns, arranged in a choreography of leftward rotations, confuse those who navigate through it. Four sections surround the central courtyard; two have no exit, while the other two contain a single door that restricts movement in one direction. Four staircases cross the courtyard, altering the circulation pattern, though in practice, they only add to the complexity.

facades. At the center of the exhibition hall, the pavilion reaches the full height of the space, as if it had always been there or as if it could never be removed.

Wolf house is trapped, and at the same time, it is a trap: an exhibition contained within a courtyard, a courtyard contained within a house, a house trapped inside a building.

A Casa Lobo é um pavilhão que alberga uma exposição sobre o processo criativo por detrás do filme homónimo de León & Cociña. O filme de animação stop-motion narra a fuga de uma jovem da Colonia Dignidad, uma seita religiosa do sul do Chile.

A arquitectura do pavilhão traduz a atmosfera opressiva e sombria do filme, assim como a história real por trás dele, numa experiência espacial tangível.

Wolf house is a compressed labyrinth.

Instead of relying on vast length, confusion arises from the narrowness of the passages and the repetition of spaces — never identical, yet always similar. Eight square windows allow glimpses into the central courtyard, the only fixed reference point within the blind box that forms the pavilion. Its exterior, made of rustic, austere wood, conceals the meticulously ordered chaos inside.

O pavilhão é um labirinto. A sua planta segue uma sequência matemática rigorosa, com um plano centralizado e dupla simetria, mas todo este rigor existe apenas para desorientar.

Voltas e contravoltas, organizadas numa coreografia de rotações para a esquerda, confundem quem o percorre.

Quatro secções rodeiam o pátio central; duas não têm saída, enquanto as outras duas possuem uma única porta que restringe o movimento numa só direcção.

Quatro escadas cruzam o pátio, alterando o padrão de circulação, embora, apenas aumentem a complexidade.

Four entrances, located at the corners of the box, break the continuity of the

A Casa Lobo é um labirinto comprimido.

Em vez de recorrer a uma grande

extensão, a confusão provém da estreiteza das passagens e da repetição dos espaços — nunca idênticos, mas sempre semelhantes. Oito janelas quadradas permitem vislumbrar o pátio central, o único ponto de referência fixo dentro da caixa cega que forma o pavilhão.

O seu exterior, feito de madeira rústica e austera, esconde o caos meticulosamente ordenado do interior.

Quatro entradas, localizadas nos cantos da caixa, quebram a continuidade das fachadas. No centro da sala de exposição, o pavilhão atinge toda a altura do espaço, como se sempre lá tivesse estado ou como se nunca pudesse ser removido. A Casa Lobo está presa e, ao mesmo tempo, é uma armadilha: uma exposição contida dentro de um pátio, um pátio contido dentro de uma casa, uma casa presa dentro de um edifício.

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pavillion 2019

ENFERMEDADES PRECIOSAS CCU gallery - Santiago, Chile

There are many reasons why we find vegetation inside architectural spaces, yet in almost every case, it highlights architecture’s desire to differentiate itself from nature — reducing plants, at most, to mere ornamentation within an autonomous structure called a building. In doing so, it erases any trace of a shared origin. The museum hall is one such space where architecture strives to conceal its natural reality, transforming it into a backdrop that hides everything we believe we know. A place where the planet itself disappears, leaving behind only representations of it.

its base. This base consists of three cubic volumes stacked in alignment along a central axis. Resting on top of them is a massive transverse beam, bearing the weight of the 28 floors of reinforced concrete that rise above it.

For a few months, deep beneath the city, the weight of modern development rested upon a modest and fragile greenhouse filled with plants — a quiet yet powerful reminder of our own vegetal state.

interpreta esta condição através de um volume habitável. A terra no substrato, as marcas deixadas pelo crescimento lento, mas persistente, o movimento quase imperceptível das plantas em busca da escassa luz que filtra do subsolo — tudo isto expõe aquilo que o museu esconde.

A greenhouse abraça a sua precariedade sem desculpas. É construída com os materiais mais fracos disponíveis, evitando quaisquer elementos supérfluos Existem muitas razões pelas quais além do seu papel fundamental: encontramos vegetação dentro abrigar e proteger as plantas. de espaços arquitectónicos, mas, Esta austeridade extrema ultrapassa From this perspective, the presence em quase todos os casos, ela realça os limites da expressão arquitectónica, of a greenhouse in the basement of a o desejo da arquitectura de se diferenciar elevando um grande telhado, dois building that proudly embodies this false da natureza — reduzindo as plantas, terços do qual projeta-se para fora, autonomy becomes unsettling. A space na melhor das hipóteses, a mera unificando a sua base. Esta base consiste filled with plants and soil, contradicting ornamentação dentro de uma estrutura em três volumes cúbicos empilhados the notion of a controlled, artificial autónoma chamada edifício. em alinhamento ao longo de um eixo environment. Like the precious diseases Ao fazê-lo, apaga-se qualquer vestígio central. Sobre eles repousa uma maciça in Cecilia Avendaño’s work — immaculate de uma origem partilhada. O hall viga transversal, suportando o peso yet parasitic plant-like figures invading the do museu é um desses espaços onde dos 28 andares de betão armado que exhibition hall — the pavilion interprets a arquitectura se esforça por ocultar se erguem por cima. this condition through a habitable a sua realidade natural, transformando-a volume. The dirt in the substrate, the num cenário que esconde tudo aquilo Durante alguns meses, profundamente marks left by slow but persistent growth, que acreditamos saber. Um lugar onde sob a cidade, o peso do desenvolvimento the nearly imperceptible movement o próprio planeta desaparece, deixando moderno repousou sobre uma of plants seeking the scarce light that para trás apenas representações dele. greenhouse modesta e frágil, cheia filters underground — all of these de plantas — um lembrete silencioso, expose what the museum hides.

Desta perspectiva, a presença de uma mas poderoso, do nosso próprio greenhouse no rés-do-chão de um estado vegetal.

The greenhouse embraces its edifício que orgulhosamente encarna precariousness unapologetically. esta falsa autonomia torna-se inquietante.

It is built using the weakest materials Um espaço preenchido por plantas available, avoiding any superfluous e terra, contradizendo a noção de um elements beyond its fundamental role: ambiente controlado e artificial. Tal como to shelter and protect plants. This extreme as doenças preciosas na obra de Cecilia austerity pushes the limits of architectural Avendaño figuras imaculadas, mas expression, elevating a large roof, twoparasitárias semelhantes a plantas que thirds of which projects outward, unifying invadem o hall de exposiçõe, o pavilhão

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installation 2025

MACIZO

Gallery 8½ - Montevideo, Uruguay

Macizo is the vestige of a monumental form stripped — and emptied — of its context. It is the embellished memory of a palace that has lost its identity.

A white elephant in the historical and administrative center of Chile’s capital.

The building of the former National Congress of Chile housed the country’s parliamentary functions for nearly 100 years, until the military coup of September 1973 brought its activities to a halt. Since then, it has hosted a succession of bureaucratic agencies attempting to make use of a space that lacks a clear purpose.

of alternate combinations. Yet they also resemble scales — ready to fall one by one, product of a prolonged decay.

A form without content, echoing the building it replicates. Macizo translates into a spatial and aesthetic operation an architectural reflection on the loss of identity — a memory of an urban ruin, once a symbol of republican pride, now awaiting its next occupation.

A galeria, com apenas 8½ m² de área, é dominada pela base da coluna.

A intrusão deste objecto fora do lugar no que costumava ser a garagem de um edifício residencial em Montevideu — agora vazio e completamente exposto à rua — desafia as noções de dimensão e escala. Ao mesmo tempo, força uma reinterpretação do monumento e do significado urbano tal como visto no original.

Uma série de linhas e números gravados na superfície metálica documentam Macizo é o restia de uma forma monumental o processo de criação, reforçando despida — e esvaziada — do seu a natureza não material do duplicado. contexto. É a memória enfeitada de um Tal como um molde de costura, sugerem Macizo replicates the base of one of the palácio que perdeu a identidade. Um a existência de combinações alternativas. columns at the palace’s main entrance elefante branco no centro histórico e Mas também escamas — prontas using a thin metallic foil. Like a child’s administrativo da capital do Chile. a cair uma a uma, produto de uma embossing on a chocolate wrapper, the decomposição prolongada. work’s technique puts the solemnity of the O edifício do antigo Congresso original in tension with the fragile and Nacional do Chile acolheu as funções Uma forma sem conteúdo, que ecoa ephemeral nature of the replica — shiny parlamentares do país durante o edifício que replica. Macizo traduz and precious, like an object of veneration quase 100 anos, até ao golpe militar numa operação espacial e estética uma or a death mask for the remains it evokes. de Setembro de 1973 que interrompeu reflexão arquitectónica sobre a perda as suas actividades. Desde então, tem de identidade — uma memória de uma The gallery, just 8½ m² in size, is overfilled recebido uma sucessão de organismos ruína urbana, outrora símbolo do orgulho by the column’s base. The intrusion burocráticos que tentam aproveitar republicano, agora à espera da sua of this out-of-place object into what um espaço que carece de um próxima ocupação. used to be the garage of a residential propósito claro. building in Montevideo — now emptied and completely exposed to the street Macizo replica a base de uma das — challenges notions of dimension colunas da entrada principal do palácio and scale. At the same time, it forces usando uma fina folha metálica. a reinterpretation of monumentality and Tal como o relevo de uma criança urban significance as seen in the original. numa embalagem de chocolate, a técnica da obra coloca a solenidade A series of lines and numbers etched onto do original em tensão com a natureza the metal surface document the creation frágil e efémera da réplica — brilhante process, reinforcing the non-material e preciosa, como um objecto nature of the duplicate. Like a sewing de veneração ou uma máscara mortuária pattern, they suggest the existence para os restos que evoca.

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BY SANTIAGO VALDIVIESO

TECHNOLOGIES FOR BECOMING A MOUNTAIN

The best part of the myth of Atlas isn’t his punishment, but his ending.

After carrying the sky on his shoulders for centuries, Perseus confronts him with the gaze of Medusa.

He doesn’t die. He transforms. His body hardens into stone, his beard turns to forest, his head becomes a summit. He becomes mountain. Since then, the sky rests upon him.

I like the idea of becoming a mountain — of carrying the sky and also looking at it. Something impossible that, with the right technology, sometimes becomes barely possible.

This is not a retrospective, nor does it explain a method.

It gathers certain ideas I’ve been working through over ten years of studio practice. Houses, installations, competitions. Projects developed in different conditions but crossed by similar concerns: how to make architecture from what’s possible — situated and contemporary.

How to let what is often an excess — program, regulations, climate, available materials, construction technologies — become decision, construction, and hopefully, good landscape.

Chile is a country where contemporary architecture maintains an active dialogue with the world, but its construction industry does not. In our office, we work with sophisticated digital tools — and with others that are not. Some highly technical, others analog. Yet buildings are still made almost entirely by hand, often without anyone really looking at the drawings. That friction — between critical ambition and real availability — is not a problem. It’s fertile ground. It’s where ideas are tested. And from there, we move forward.

The solution shouldn’t be conformist, but operate within tension. Instead of applying closed systems, we work with partial assemblies — fragments that function together. This way of making calls for a different character. Not the modern engineer, nor the demiurge architect, but the tinkerer. I like that word. In Spanish it doesn’t have an exact translation. It’s something like a backyard inventor — someone who tests, adjusts, mixes what they have at hand without waiting for guarantees. A minor character, but deeply attentive.

A tinkerer doesn’t follow a method. They assemble what’s available. They fine-tune. They don’t seek total control, but the contingent precision that each case requires.

Sometimes, it’s not even about building something new.

Just corrected.

I’ve taken part in several public competitions — some awarded, some developed, but still unbuilt.

Sometimes due to the slow rhythm of Chile’s public system. Sometimes just because not enough years have passed. But if I’m going to talk about landscape technologies, I have to talk about built work. And in my case, that means houses and installations. Because it’s in those projects that ideas face the concrete: weight, scale, climate, and the contradictions of execution.

That’s where ideas become material, and decisions stop being theoretical.

The building process doesn’t confirm an idea — it tests it. It forces you to think from what’s available.

From invention. From trial and error.

I often photograph construction processes with a Canon FX, a 1964 SLR. Not out of nostalgia — I wasn’t even born when it was released — but because there’s something fascinating about documenting a project in progress with a technology that’s over sixty years

119

2015

ENGAWA HOUSE Punta Pite, Chile

The house is located on a rocky and stormy cliff between two small bays facing the Pacific Ocean. This situation between seas to the east and west can be felt on the ground, but not seen.

The idea of the project is to generate a house that allows to work both as a refuge and as the opposite; a panorama.

Thus, rather than generating a static relationship with the territory, it creates a medium for change. For this, an intermediate condition is designed between exterior and interior, between a natural and an intimate personal landscape. An intermediate gallery like a traditional Engawa of variable section and different densities of raulí wood creates a spatiality capable of reacting to various uses and impulses, both internal and external.

The gallery contains a regular volume of galss ans black steel, of only one level that advances as it rises from the sloping natural topography. As the volume rises, its form of anchorage to the ground changes; Once fully supported, it begins to gain height on regular pilotis that finally end in a quadruple diamond support. This distancing also changes the relationship from a close environment to a distant one, from a close relationship with the garden to one of an environment between seas, a situation previously impossible to see.

and gardens of the house, these follow the conditions of the topography, unlike the main volume. Above, in a completely panoramic situation with three sea fronts, there is an unprotected viewpoint against the windy weather.

A casa encontra-se num penhasco rochoso e tempestuoso entre duas pequenas baías voltadas para o Oceano Pacífico. Esta situação entre mares a leste e oeste sente-se no terreno, mas não se vê.

A ideia do projecto é gerar uma casa que funcione tanto como refúgio como, inversamente, como panorama.

Assim, em vez de estabelecer uma relação estática com o território, cria-se um meio para a mudança.

Para isso, foi concebida uma condição intermédia entre o exterior e o interior, entre a paisagem natural e a paisagem pessoal e íntima. Uma galeria intermédia, semelhante a um Engawa tradicional, com secção variável e diferentes densidades de madeira de raulí, cria uma espacialidade capaz de reagir a diversos usos e impulsos, tanto internos como externos.

A galeria envolve um volume regular de vidro e aço negro, de um só piso, que avança à medida que se eleva sobre a topografia natural em declive. À medida que o volume sobe, a sua The higher you are from the ground, forma de ancoragem ao solo altera-se; the more public your program will be, uma vez totalmente apoiado, começa until a public upstairs and a private a ganhar altura sobre pilotis regulares downstairs are generated. Below, a series que terminam, finalmente, num suporte of scales, platforms, concrete walls de diamante quádruplo. Este afastamento and river stones build the exteriors transforma também a relação com

o entorno: de uma envolvência próxima com o jardim, passa-se para um ambiente entre mares — uma situação até então impossível de ver.

Quanto mais alto em relação ao solo, mais público se torna o programa, até que se gera um piso superior público e um piso inferior privado. Em baixo, uma série de escadas, plataformas, muros de betão e seixos de rio constrói os exteriores e jardins da casa — estes seguem as condições da topografia, ao contrário do volume principal.

Em cima, numa situação completamente panorâmica com três frentes marítimas, existe um miradouro desprotegido contra o clima ventoso.

PROJECT CO-AUTHORED WITH STEFANO ROLLA

SANTIAGO VALDIVIESO

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01. Secondary terrace beams UPN 140 (140x60 mm), painted black, RAL 9004 02. Terrace roof decking in lenga wood, 70x15 mm, butt-jointed 03. Pressure-treated pine post 2’’, for roof slope, variable height, spaced approx. every 2399 mm 04. Edge angle 15x15x3 mm for terrace deck, in steel. C-profiles 125x50x5 mm, painted blac, RAL 9004 05. Pressure-treated pine joist for deck structure, 50x63 mm, spaced at 600 mm centres 06. Soffit for north terrace and exterior corridors in lenga wood, 70x15 mm, spaced 70 mm apart 07. UPN 240 beam, painted black, RAL 9004 08. 1+1 back-to-back UPN 240 beam, grid lines B and C between axes 02 and 00, per structural design, in black-painted steel, RAL 9004 09. Bracing 100x50x3 mm, mitred joints at 45º, in black-painted steel, RAL 9004 10. Fixed window in pre-painted matt black aluminium profiles, double-glazing 6+4+6 mm, clear glass 11. Recessed roller blind, 30% openness sunscreen, pearl white colour 12. Edge trim 203x10 mm in timber, painted black RAL 9004, matt finish 13. Pine timber stud 2x3 1/2’’ (50x81.5 mm), pressure-treated 14. Interior ceiling in pine wood 3’’ (70x15 mm), no chamfer, whitewashed 15. C-profiles 110x50x3 mm, with anti-corrosion treatment 16. High-density expanded polystyrene insulation, 80 mm thick, with Tyvek vapour barrier 17. SBS elastomeric membrane, 4 kg/m², over 15 mm structural plywood (1200x2400 mm) 18. SBS elastomeric membrane, 4 kg/m², over sloped roof with 15 mm structural plywood (2400x1200 mm)

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19. Adjustable louvre in lenga wood, per Marine Shutters supplier 20. HEB 140 column, painted black, RAL 9004 21. Interior flooring in tongue-and-groove lenga wood boards, 70x15x4800 mm.

22. Composite slab from axis 5 to axis 00, per structural design, Instadeck 12.5 slab, underside painted black 23. Insulation, loose mineral wool mat, fixed to underside of composite slab, 40 mm thick, between axes 05 and 02 24. Radiant floor heating system with PEX pipes, as per project, from axes 05 to 02 25. Lenga wood trim piece at floor level, with chamfered edge 26. Underside ceiling in lenga wood boards, 70x15x4820 mm 27. Lower WF beams 250x44.8 (266x148 mm), longitudinal along axes B and C, painted red, RAL 3000 28. Exterior decking in butt-jointed lenga wood boards, 70x15x4800 mm 29. Transversal beam WF 250x44.8 (266x148 mm), painted black, RAL 9004 30. Capital in metal plates, painted red, RAL 3000 31. Spider foot in HEB 220 profile, painted red, RAL 3000.

32. Staircase in polished concrete, treads and risers.

33. Wall on axis A1 in exposed concrete with formwork in butt-jointed planed timber boards, top surface machine-polished and sealed with transparent QHC. 34. Slab foundation per structural design, machine-finished and polished using Hitek Superfloor system.

35. WF beams 200x19.3 (203x102 mm), painted black, paint as per on-site sample, RAL 9004.

36. Horizontal bracing 75x75x3 mm, painted black, paint as per on-site sample, RAL 9004.

37. UPE 140 beam (140x65 mm), painted black, paint as per on-site sample,

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38. Angle profile 96x200x5 mm, painted black, paint as per on-site sample, RAL 9004.

39. Bracing at axis 00, tubular profiles 100x50x5 mm, painted black, paint as per on-site sample, RAL 9004.

40. Bracing at axis A, tubular profiles 100x50x5 mm, painted black, paint as per on-site sample, RAL 9004.

41. Ø3’’ x 3 mm (Ø76.2 mm) column, painted black, paint as per on-site sample, RAL 9004.

42. Diagonal bracing at axis 00, tubular profiles 100x50x5 mm, painted black, paint as per on-site sample, RAL 9004.

43. Termination piece for Ø3’’ column base, in steel, as per floor detail.

44. Timber handle for louvre in lenga wood, as per detail.

45. Exterior decking in butt-jointed lenga wood boards, 70x15x4800 mm.

46. Ceiling chamfer and bottom edge flat bar, 20x15 mm.

47. Flat plate 270x270x10 mm, recessed in concrete to receive HEB 220 column (210x220 mm), bolted and painted red, RAL 3000, as per on-site sample.

48. Round tubular profile 2’’ x 3 mm (Ø50.8 mm), fixed to concrete wall for support, painted black, as per sample, RAL 9004, end faces sealed with 15 mm lenga wood.

49. Concrete trim 20x30 mm between exposed concrete wall and dark grey polyurethane-based pool coating, as per sample.

50. Wall on axis 01A in exposed concrete with formwork in butt-jointed planed timber boards, top face machine-polished and sealed with transparent QHC, bottom face underground with Igol treatment.

51. SBS elastomeric membrane, 4 kg/m².

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2024

CASA BLANCA Maitencillo, Chile

The project is located on the Chilean coast, between the countryside and the Pacific Ocean, in a Mediterranean climate. In this context, traditional construction technologies typically involve clay brick masonry and wooden trusses.

The house is situated at the edges of a private residential development along the coast. A series of homogenizing regulations, which don’t make much sense to the landscape, are imposed by an architectural guideline.

Among them is the requirement for buildings to be white.

Due to its position on the outskirts of the development, the house has the opportunity to disengage from the architectural landscape of the neighborhood, instead focusing on the cultural, natural, and climatic landscapes of the region.

The house is enclosed by a slow, artesanal masonry perimeter with varying densities, creating both interior rooms and enclosed gardens. Horizontally, two CNC prefabricated laminated wood beams measuring 25 meters in length and 60 centimeters in height are placed atop this perimeter. Transversely, 32 CNC prefabricated beams, each 10 meters long and 30 centimeters high with chamfered ends, are installed.

The interaction between these two structures and technologies (masonry and wood) creates a continuous high window that runs throughout the house.

This window provides even ambient natural light to all spaces, while offering a singular, uninterrupted view of the sky.

The metallic gutters have a deliberate and exaggerated presence in the house, continuously shedding drizzle due to the region’s climate.

densidades variáveis, que cria tanto compartimentos interiores como jardins murados. Na horizontal, duas vigas de madeira laminada prefabricadas por CNC, com 25 metros de comprimento Facing the street, the house features e 60 centímetros de altura, são colocadas a formal operation inspired by Kazuo sobre este perímetro. Na transversal, Shinohara’s House under High Voltage instalam-se 32 vigas prefabricadas Lines, where a boolean subtract operation por CNC, cada uma com 10 metros generates a form that expresses the de comprimento e 30 centímetros confrontation between the private de altura, com extremidades chanfradas. interior space and the shapes imposed by the development. This gesture A interacção entre estas duas estruturas nods to the architectural landscape e tecnologias (alvenaria e madeira) that the project leaves behind. gera uma janela contínua em altura que percorre toda a casa. Esta abertura fornece luz natural ambiente uniforme O projecto localiza-se na costa chilena, a todos os espaços, enquanto oferece entre o campo e o Oceano Pacífico, num uma vista singular e ininterrupta do céu. clima mediterrânico. Neste contexto, as tecnologias construtivas tradicionais As caleiras metálicas possuem uma envolvem geralmente alvenaria em tijolo presença deliberada e exagerada de barro e treliças de madeira. na casa, vertendo constantemente a garoa, em resposta ao clima A casa situa-se nos limites característico da região. de um empreendimento habitacional privado ao longo da costa. Uma série Voltada para a rua, a casa apresenta de regulamentos uniformizadores, sem uma operação formal inspirada na House grande correspondência com a paisagem, under High Voltage Lines, de Kazuo é imposta por um regulamento Shinohara, onde uma operação booleana arquitectónico. Entre estas regras, de subtracção gera uma forma que encontra-se a exigência de que todos expressa o confronto entre o espaço os edifícios sejam brancos. interior privado e as formas impostas pelo empreendimento. Este gesto constitui Devido à sua posição uma referência à paisagem arquitectónica na periferia do loteamento, a casa que o projecto opta por deixar para trás. tem a oportunidade de se desligar da paisagem arquitectónica do bairro, focando-se antes nas paisagens cultural, natural e climática da região.

A casa é encerrada por um perímetro de alvenaria artesanal e lenta, com

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DETAIL A

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01. Double asphalt membrane 02. 18 mm structural plywood 03. Roof slope framing in pine timber 04. Gutter lined with double asphalt membrane 05. Ø40mm drainpipe with anti-corrosive coating, painted white 06. 100x100x5 angle steel profile 07. Insulated glazing unit mounted on matte aluminum mullion over 115x65mm glulam wooden center post 08. Laminated timber beam according to structural design and cnc-machining specifications (timber standard) 09. Reinforced concrete beam 10. 400x200x60mm brick, custom-cut for wall continuity, with recessed mortar joint finish

DETAIL A

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11. 400x200x60mm brick, with recessed mortar joint finish 12. 10mm stone masonry finish 13. Window frame in matte aluminum 14. Partition wall from exterior to interior 15. Smooth concrete slab floor with burnished cement finish 16. 10mm stone masonry finish without baseboard 17. Brick louvre wall with recessed joint finish 18. Patio with white shell gravel 19. Lightweight screed for slope to center drain 20. Vertical drop to infiltration drain 21. Interior garden landscaping: 3 Coprosma repens 2 Myrceugenia

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6 Blechnum chilense 6 Nephrolepis cordifolia Sedum Soleirolia 5cm layer of crushed mineral shell 22. Angle profile 100x100x5 mm, with anti-corrosion treatment and painted in white or grey.

23. Glued laminated timber element 24. Ceiling in planed pine 1x4 25. Sliding window Termowind L25 in matt aluminium.

26. Brick wall 400x200x60 mm 27. Vertically installed sawn pine 1x4” 28. Window recess prepared for unobstructed opening.

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29. Concrete bench 30. Polished concrete slab with burnished cement finish, 1% slope.

31. Machine-finished skirting 32. Ground surface: Raschel mesh 50 mm of white decomposed granite (maicillo blanco) 33. Exterior garden landscaping: Layer of compost and humus (proportion to be defined) 8 × Quillaja saponaria 8 × Cryptocarya alba 1 × Acacia melanoxylon 12 × Maytenus boaria 4 × Schinopsis spp.

DETAIL B

24 × Searsia crenata 20 × Santolina spp.

12 × Jacobaea maritima 12 × Salvia rosmarinus 12 × Salvia rosmarinus ‘Toscany’ 3 × Olea europaea 4 × Leucadendron ‘Safari Sunset’ 12 × Myrceugenia spp.

1 × Aloysia citrodora 1 × Citrus limon 1 × Vaccinium corymbosum 18 × Westringia fruticosa 8 × Echium spp.

10 × Libertia chilensis 10 × Dietes spp.

20 × Gaura lindheimeri 8 × Gaura lindheimeri (pink variety) 20 × Rosmarinus officinalis ‘Prostratus’ 8 × Chamelaucium spp. (interpreted from “Coloenemas”) 10 × Salvia canariensis 8 × Paspalum spp.

6 × Ceratophyllum demersum 10 × Pennisetum advena ‘Rubrum’ (Pennisetum ruppelianum)

139

2024

PALAPAS HOUSE Cachagua, Chile

The house is located in the historic part of a classic seaside town on Chile’s central coast. Its history is intrinsically linked to a construction technology, scale, and density that form part of the cultural landscape. Small houses with steeply pitched roofs, coirón coverings, and colihue ceilings are a distinctive feature of this landscape, shaped by both tradition and the demands of the coastal climate.

Facing the sea and the south, the house stands at the meeting point between a humid coastal forest and the Pacific Ocean. In Chile, a south-facing orientation means shade — anything placed in front of a structure will cast a shadow, influencing both the microclimate and the perception of space. This condition, along with the exposure to ocean winds and humidity, defines the architectural strategies employed in the project.

The house is fragmented, positioned perpendicular to the sea, and distributed around a central courtyard open to the ocean. This configuration responds to the site’s density, allowing for a more porous integration into the surroundings while optimizing natural light exposure. The courtyard acts as a thermal buffer, a place of shelter, and a space that strengthens the relationship between interior and exterior.

The ground floor, made of white concrete and galvanized steel pillars, consists of continuous slabs with separate volumes, dispersed across the terrain to generate an internal landscape.

This fragmented footprint allows the house to adapt to the natural topography while

creating pockets of light and shadow.

Above this, three roof structures made of CNC-milled lenga wood artesanal laminated beams rise, featuring colihue ceilings and coirón roofs — both traditional landscape technologies used for thermal control, insulation, and waterproofing.

Updated and refined, these elements open new technical and formal possibilities through subtle double curvatures that only an organic material can achieve.

A casa está situada na zona histórica de uma clássica vila costeira na costa central do Chile. A sua história está intrinsecamente ligada a uma tecnologia construtiva, a uma escala e a uma densidade que fazem parte da paisagem cultural. Casas pequenas, com telhados inclinados, coberturas de coirón e tectos de colihue, são uma característica distintiva dessa paisagem, moldada tanto pela tradição como pelas exigências do clima costeiro.

Voltada para o mar e para sul, a casa localiza-se no ponto de encontro entre uma floresta costeira húmida e o Oceano Pacífico. No Chile, uma orientação a sul significa sombra — qualquer elemento colocado à frente de uma estrutura projectará sombra, influenciando tanto o microclima como a percepção espacial. Esta condição, juntamente com a exposição aos ventos oceânicos e à humidade, define as estratégias arquitectónicas adoptadas no projecto.

A casa encontra-se fragmentada, posicionada perpendicularmente ao mar, e distribuída em torno de um pátio central aberto para o oceano. Esta configuração

responde à densidade do terreno, permitindo uma integração mais porosa com o entorno, enquanto optimiza a exposição à luz natural. O pátio funciona como tampão térmico, como espaço de abrigo, e como elemento que reforça a relação entre interior e exterior.

O piso térreo, em betão branco e pilares de aço galvanizado, é composto por lajes contínuas com volumes separados, dispersos pelo terreno de forma a gerar uma paisagem interna.

Este traçado fragmentado permite à casa adaptar-se à topografia natural, criando bolsas de luz e sombra. Sobre esta base, erguem-se três estruturas de cobertura em vigas de madeira de lenga laminadas artesanalmente e fresadas por CNC, com tectos em colihue e coberturas em coirón — tecnologias tradicionais da paisagem utilizadas para controlo térmico, isolamento e impermeabilização.

Actualizados e refinados, estes elementos abrem novas possibilidades técnicas e formais através de subtis curvaturas duplas que só um material orgânico é capaz de alcançar.

PROJECT CO-AUTHORED WITH NICOLÁS DOMÍNGUEZ

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01. Coirón cladding as per on-site sample 02. Second continuous elastomeric bituminous waterproofing membrane, Syntoflex P4 03. 1”x2” rough-sawn, impregnated timber substructure 04. First elastomeric bituminous waterproofing membrane, Syntoflex P4 05. 2”x2” planed timber substructure 06. 9mm OSB (Oriented Strand Board) 07. 50mm mineral wool insulation 08. 2”x2” planed lenga wood substructure 09. Rectified and treated coligüe cane cladding

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10. 150x150mm engineered lenga timber structural element, treated with Ingelam and Milesi 11. 81x81mm engineered lenga timber structural element, treated with Ingelam and Milesi 12. Board-formed exposed white concrete 13. Stone masonry 14. Solid lenga hardwood flooring 15. Levelling screed for underfloor heating 16. Underfloor heating slab as per HVAC project specification 17. 30mm high-density expanded polystyrene insulation (Aislapol or equivalent)

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18. Vapour barrier, Tyvek Pro or equivalent 19. Board-formed exposed white concrete 20. Timber ceiling, special cladding as per sauna project technical specifications (RML) 21. Special timber cladding as per sauna project technical specifications (VML) 22. 30mm finishing screed 23. Reinforced ground slab (radier) 24. Waterproofing membrane over compacted soil, Sikaplan WP 1120-15 HK 25. Minimum 10mm gravel bedding layer 26. Improved and compacted ground

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149

2024

HOUSE IN 30° Santiago, Chile

Concrete is poured and molded into its formwork; wood is joined together. Both tasks are done by a carpenter. In the end, it’s the same and opposing technology.

The house is located on the outskirts of Santiago, in the foothills of the Cordillera de los Andes, within a gated community where each home follows its own logic — houses set apart from the property lines, surrounded by gardens. This house seeks to reverse that condition. A 26-meter-long triangular beam supports the front roof, spanning from boundary to boundary, transforming the idea of a “house with a garden” into a “house with a patio.”

On the ground floor, the house is semi-buried, disconnecting from its immediate surroundings. At the back, an intimate patio shelters everyday life. At the front, in contrast, a large 15-by-5-meter open-plan room extends into the main patio.

On the second floor, the house rotates 30° to align with true north (the optimal orientation in the Southern Hemisphere). This shift generates a series of displacements that, like a vortex, are captured by an inclined wall over the entrance patio. At this point, the wall and the skylight open a clean void to the open sky, guiding natural light and its colors into the heart of the house. The open skylight, repeated in other projects, insists on the virtue of contemplating the sky from a domestic interior.

The concrete wall incorporates formwork sleeves, allowing methacrylate

tubes to channel daylight into the interior, while at night, the process reverses, illuminating the street.

In the bedrooms, a folding lenga wood lattice performs the same function: regulating light and temperature inside, while outside, it acts as a glowing lantern.

O betão é vertido e moldado na sua cofragem; a madeira é unida.

Ambas as tarefas são executadas por um carpinteiro. No fim, trata-se da mesma tecnologia — simultaneamente idêntica e oposta.

A casa localiza-se nos arredores de Santiago, nas encostas da Cordilheira dos Andes, dentro de um loteamento fechado onde cada habitação segue a sua própria lógica — casas afastadas dos limites do terreno, rodeadas por jardins. Esta casa procura inverter essa condição. Uma viga triangular com 26 metros de comprimento sustenta a cobertura frontal, vencendo o vão de um limite ao outro, e transforma a ideia de “casa com jardim” numa casa com pátio”.

No piso térreo, a casa está semi-enterrada, desligando-se do seu entorno imediato. Nas traseiras, um pátio íntimo acolhe a vida quotidiana. Na frente, em contraste, um amplo espaço de 15 por 5 metros em open plan estende-se até ao pátio principal.

No segundo piso, a casa roda 30° para se alinhar com o norte verdadeiro (a orientação ideal no hemisfério sul). Este desvio gera uma série

de deslocações que, como um vórtice, são captadas por uma parede inclinada sobre o pátio de entrada. Nesse ponto, a parede e a clarabóia abrem um vazio limpo em direcção ao céu aberto, conduzindo a luz natural e as suas cores até ao coração da casa. A clarabóia aberta, repetida noutros projectos, insiste na virtude de contemplar o céu a partir de um interior doméstico.

A parede em betão incorpora mangas de cofragem que permitem a colocação de tubos de metacrilato, os quais canalizam luz diurna para o interior e, à noite, invertem o processo, iluminando a rua.

Nos quartos, uma grelha dobrável em madeira de lenga cumpre a mesma função: regula a luz e a temperatura no interior, e no exterior actua como uma lanterna luminosa.

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01. Fair-faced reinforced concrete (H.A. liso) 02. Board-formed reinforced concrete 03. Beam in board-formed reinforced concrete 04. Column in board-formed reinforced concrete 05. Volcometal structural system 06. Compacted improved fill 07. Gravel bed 08. Reinforced concrete ground slab (radier) 09. Sand bedding layer 10. Tongue-and-groove timber cladding 11. Painted plasterboard cladding (Volcanita) 12. Precast concrete paving 13. Lightweight concrete topping slab 14. Engineered wood flooring 15. Engineered wood ceiling 16. Polished concrete finish 17. Steel angle profile L 30x30x3 mm 18. Steel flat bar 10 mm thick (Fe I) 19. 18 mm structural plywood 20. Concealed rainwater downpipe in wall, PVC Ø75 mm 21. Waterproof membrane over ground 22. Waterproof membrane over roof 23. Radiant floor heating coil (embedded) 24. Expanded polystyrene insulation, 30 mm thick 25. Expanded polystyrene insulation, 80 mm thick 26. Expanded polystyrene insulation, 100 mm thick 27. Double glazing unit (thermopanel) 28. Double-glazed timber-framed window 29. Timber louvre 30. Custom furniture – Bravo design 31. 15 mm stone facing (or stone veneer, depending on the detail) 32. Insulation – Waterproofing – AALL

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HOUSE IN 30°

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161

2025

ECHO HOUSE Zapallar, Chile

The house sits on an elevated hillside with a panoramic view toward a nearly excessive western horizon, fully open to the Pacific Ocean. 2 km from Casa Engawa, it shares the same climate but is positioned higher and more exposed. The terrain has a uniform southward slope, an unfavorable orientation in the southern hemisphere.

The project counterbalances this openness through protected, domestic patios, creating intimate spaces in contrast to the vast sea.

Three concrete walls reshape and reorient the topography. The first two form an inclined garden-patio, making the terrain physically present. Its slope demands effort and speed, reinforcing connection with the landscape.

Its inclination amplifies the garden’s perception from the interior, as if viewed from above. The third retaining wall, parallel to the ocean, acts as a structural pivot for the metal framework.

Beneath it, a garden sheltered from sun and wind balances light and shade.

filters, and softens sunlight. An interior linen curtain tempers the landscape.

An exterior UV-protected acrylic curtain, inclined and automated, regulates solar exposure, reducing glare and improving aerodynamics.

This performative western facade lets the house moderate its relationship with landscape and light year-round, not imposing upon the site but interacting with it instead.

A casa implanta-se numa encosta elevada, com vista panorâmica sobre um horizonte poente quase excessivo, totalmente aberto ao Oceano Pacífico.

A apenas 2 km da Engawa House, partilha o mesmo clima, embora se situe a uma cota mais alta e mais exposta.

O terreno apresenta uma pendente uniforme voltada a sul — uma orientação desfavorável no hemisfério sul.

O projecto contrapõe esta abertura com pátios domésticos protegidos, gerando espaços íntimos em contraste com a vastidão do mar. Três muros de betão A lightweight metal structure rests on the redesenham e reorientam a topografia. third wall, supporting a continuous Os dois primeiros definem um pátio-jardim vaulted roof parallel to the ocean, defining inclinado, tornando o terreno fisicamente the interior and distributing zenithal presente. A sua inclinação exige esforço light. At its center, an inclined garden e velocidade, reforçando a ligação with glass facing east enhances the com a paisagem. perception of the nearby landscape, while to the west, the view fully opens Esta inclinação amplifica a percepção to the infinite Pacific horizon. do jardim a partir do interior, como se visto em escorço. O terceiro muro de contenção, Here, where the house is fully exposed paralelo ao mar, funciona como ponto to intense afternoon sun, a layered estrutural de apoio para a estrutura system moderates light and temperature. metálica. Sob este, um jardim abrigado A galvanized grating eave reflects, do sol e do vento equilibra luz e sombra.

Uma estrutura metálica leve assenta sobre o terceiro muro, sustentando uma cobertura contínua em abóbada, paralela ao oceano, que define o espaço interior e distribui luz zenital. No centro, um jardim inclinado com envidraçado voltado a nascente intensifica a relação com a paisagem próxima, enquanto a poente o olhar se abre plenamente ao horizonte infinito do Pacífico.

Neste ponto — o mais exposto ao sol intenso da tarde — um sistema em camadas modula luz e temperatura.

Uma pala em grelha galvanizada reflecte, filtra e suaviza a luz solar. Uma cortina interior de linho ameniza a leitura da paisagem. Uma cortina exterior de acrílico, inclinada, automatizada e com protecção UV, regula a exposição solar, reduzindo o encandeamento e melhorando a aerodinâmica.

Esta fachada poente, de carácter performativo, permite à casa modular continuamente a sua relação com a luz e a paisagem ao longo do ano — não se impondo ao sítio, mas antes dialogando com ele.

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01. Butt-jointed eucalyptus timber, 8mm x 5”, Topwood finish with Cutek + Blondetone 4x EU, aligned with curve direction 02. Ø 1” cable 03. VM4 beam 04. C-section steel profile 100x50x3 mm 05. Attic crossbeam in pinewood, 2”x4” 06. Thermal insulation 07. 11mm OSB, glued and stapled, with Tyvek condensation barrier 08. Eucalyptus timber, 19mm x 5”, Topwood finish with Cutek + Blondetone 4x EU, aligned with curve direction 09. Rainwater gutter in 3mm steel 10. 10mm cellular polycarbonate 11. 10mm flat steel bar, sized according to structural calculations, painted following coating protocol and RAL 9002

12. Galvanised grating ARS 3 13. VM4 beam, sized per structural calculations, painted per coating protocol and RAL 9002 14. PM1 column, sized per structural calculations, painted per coating protocol and RAL 9002 15. 11mm OSB, glued and stapled 16. Vertical butt-jointed eucalyptus cladding, 19mm x 5”, Topwood finish with Cutek + Blondetone 4x EU, aligned with curve direction 17. 142x50x3 mm flat steel bar, painted with Creizet, colour to be defined 18. Rough sawn, impregnated pinewood, 1”x2” 19. Pinewood 1”x2” beneath bituminous membrane 20. Elastomeric bituminous waterproofing membrane, Syntoflex P4 Imper 21. Air cavity for water runoff drainage 22. 11mm OSB

23. Exposed concrete wall, 1”x8” sawn board finish 24. Floor-mounted convector, 30x200 mm, ANWO 25. Rolux outdoor screen blind 26. Window with reinforced matte aluminium frame, Superba33 model 27. 10mm marble flooring + 10mm adhesive layer 28. 50mm concrete topping (screed) 29. 18mm plywood 30. 18mm plywood painted in dark finish 31. Bracing system / structural bracing 32. Retaining wall in exposed concrete, 1”x8” sawn board finish 33. Large boulders for sub-drainage protection 34. Bench in polished concrete 35. Beach shell aggregate paving

173

2025

A HOUSE ON A SLOPE Ilihue - Lago Ranco, Chile

HOUSE A IN A SLOPE is located in a forest clearing on a steep slope facing Lake Ranco, in southern Chile. The project draws from the archetype of the “A-frame” cabin, with two fully glazed facades that open the house to the nearby forest to the south and to Lake Ranco with the distant Choshuenco volcano to the north.

To preserve the presence of the slope, the interior space adapts entirely to it.

The result is a central stairway of seemingly disproportionate scale that transcends its practical role to become a flexible, playful, almost topographic space — an echo of Paul Virilio’s “oblique function.”

As Virilio wrote, “obliquity speaks of instability, links spaces dynamically, and forces the user to rethink things, to re-inhabit the space, to live on the edge… and to tread carefully.”

Above this inclined interior, a large rhombus-shaped skylight opens at the ridge, letting in the color of the sky and the forest’s shifting light and shadows.

Detached from the main volume, a cylindrical structure contains the wet areas. Here, all services and bathrooms are concentrated, also open to the sky, forming a compact, elemental core.

The entire structure, made of laminated pine, was prefabricated with CNC machining 280 km from the site and assembled in just two weeks. The exterior, however, was not fast: it was fully handcrafted on site with shingles of Alerce (Fitzroya cupressoides). This technique — tejueleo — has shaped the technological and cultural landscape of southern Chile since the 17th century. Originating during the early exploitation of Alerce forests

in regions like Chiloé, Puerto Montt, Osorno, and Valdivia, tejueleo became a hallmark of rural architecture — resilient, functional, and deeply tied to place.

Today, with Alerce a protected species, its legacy survives through an Indigenous community deep in the forests near Bahía Mansa, which, through conservation agreements, works only with trees that have fallen naturally within protected areas — sustaining a craft that speaks of ecology, technology, and performance.

A House a in a Slope está localizada numa clareira florestal sobre uma encosta íngreme voltada para o Lago Ranco, no sul do Chile. O projecto parte do arquétipo da cabana “A-frame”, com duas fachadas totalmente envidraçadas que abrem a casa para a floresta próxima a sul e para o Lago Ranco e o longínquo vulcão Choshuenco a norte. Para preservar a presença da inclinação, o espaço interior adapta-se integralmente a ela. O resultado é uma escada central de escala aparentemente desproporcionada, que transcende a sua função prática para se tornar num espaço flexível, lúdico, quase topográfico — um eco da “função oblíqua” de Paul Virilio.

Como escreveu Virilio, “a obliquidade fala de instabilidade, liga os espaços de forma dinâmica e obriga o utilizador a repensar, a re-habitar o espaço, a viver na borda… e a caminhar com cuidado.”

Sobre este interior inclinado, uma grande clarabóia em forma de losango abre-se no cume, deixando entrar a cor do céu e a luz e sombras mutáveis da floresta.

Separada do volume principal, uma estrutura cilíndrica contém as zonas húmidas. Todos os serviços e casas de banho estão concentrados aqui, também abertos ao céu, formando um núcleo compacto e elementar.

Toda a estrutura, em pinho laminado, foi pré-fabricada com maquinação CNC a 280 km do local e montada em apenas duas semanas. O exterior, no entanto, não foi rápido: foi inteiramente construído à mão no local, com telhas de Alerce (Fitzroya cupressoides).

Esta técnica — tejueleo — moldou a paisagem tecnológica e cultural do sul do Chile desde o século XVII. Originada durante a exploração inicial das florestas de Alerce em regiões como Chiloé, Puerto Montt, Osorno e Valdivia, o tejueleo tornou-se marca da arquitectura rural: resiliente, funcional e profundamente enraizada no lugar.

Hoje, com o Alerce protegido por lei, o seu legado sobrevive graças a uma comunidade indígena nas florestas de Bahía Mansa, que, por acordos de conservação, trabalha apenas com árvores caídas naturalmente em áreas protegidas — sustentando um ofício que fala de ecologia, tecnologia e performance.

PROJECT CO-AUTHORED WITH NICOLÁS DOMÍNGUEZ

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SANTIAGO VALDIVIESO

DETAIL

01. Double glazing unit with both panes laminated and tempered (thermopane) 02. Matt aluminium profile 20x40mm receiving thermopane unit 03. Laminated pine beam (by Timber) for slope support 04. Alerce shingles, dimensions to be defined, traditional overlap 05. 1”x2” horizontal impregnated pine boarding 06. 1”x2” vertical impregnated pine boarding at 60cm centres 07. Breathable water-resistant membrane

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08. 11.1mm OSB (Oriented Strand Board) 09. 2”x5” pine purlin 10. 140mm glass wool insulation, Aislanglass 11. Vapour barrier, VolcanWrap 12. 1”x4” planed pine boarding 13. 1”x4” timber floorboards 14. 18mm structural plywood

15. 70mm glass wool insulation, Aislanglass 16. Laminated timber beam 35x138mm 17. 50mm coffer (void for ceiling system) 18. 70mm glass wool insulation, Aislanglass 19. 12mm plywood sheathing (Between Timber 150x150mm beams) 20. Galvanised steel anchor 21. Foundation

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A HOUSE ON A SLOPE

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A HOUSE ON A SLOPE

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installation 2022

LIQUID SKY

Coyo - Atacama Desert , Chile Linz, Austria

“What is the purpose of the Aztec mirror?

Not to see oneself, but to lose oneself.

Not to find oneself, but to disappear.

In fact, most ancient mirrors were like that.” (Andrés Ibañez, Through the Mirror) In the Coyo ayllu (Atacama), the sky is reflected by a black-dyed water mirror, captured by an overhead camera recording the image. An electric motor rotates the water container, generating a stationary forced vortex that curves the water’s surface into a paraboloid of revolution. The result is a parabolic mirror whose angular velocity is directly related to its concavity, and consequently, to the angular distortion of the reflected sky image.

The image is broadcast live to Linz (Austria) as part of the Studio(dys) Topia exhibition at the 2022 Ars Electronica Festival, where a video installation projects it onto a circular surface raised a few centimeters above the floor of a darkened room.

The presence and movements of viewers approaching the installation are captured by a second camera, converted into data, and processed in real time.

This data is then sent back over the internet to influence the rotation speed of the apparatus in Coyo. An intimate yet distant entanglement is established: by linking the number of attendees at the video installation to the angular velocity of the apparatus, a situation arises where people observing the image in one hemisphere collectively and unintentionally affect the behavior of the machine producing the image in the other hemisphere.

Liquid Sky becomes the techno-mediated opening of a portal, where the real-time image of the Atacama sky, the attendees of the Ars Electronica Festival, and a network of machines, mechanical gestures, natural forces, algorithms, and data flows intertwine in a trans-local, rhizomatic feedback loop. Within this loop, the distinctions between the involved entities dissolve into an extended present moment of mixture and interconnection.

“Qual é a função do espelho asteca?

Não é ver-se, mas perder-se.

Não é encontrar-se, mas desaparecer.

De facto, a maioria dos espelhos antigos era assim.”

dos visitantes junto à instalação são captados por uma segunda câmara, convertidos em dados e processados em tempo real.

Esses dados são então enviados de volta pela internet para influenciar a velocidade de rotação do mecanismo em Coyo. Estabelece-se um enredamento íntimo e distante: ao associar o número de espectadores da instalação à velocidade angular do espelho, gera-se uma situação em que os que observam a imagem num hemisfério afectam, colectivamente e sem intenção, o comportamento da máquina que a produz no outro hemisfério.

Liquid Sky torna-se uma abertura tecnomediada de um portal, onde a imagem em tempo real do céu da Atacama, os visitantes do festival, No ayllu de Coyo (Atacama), o céu reflecte-se num espelho de água tingida e uma rede de máquinas, gestos mecânicos, forças naturais, algoritmos de negro, captado por uma câmara suspensa que grava a imagem. Um motor e fluxos de dados se entrelaçam num feedback loop rizomático e trans-local. eléctrico faz rodar o recipiente da água, gerando um vórtice forçado estacionário Nesse ciclo, dissolvem-se as distinções entre os elementos envolvidos, num que curva a superfície líquida num presente expandido de mistura paraboloide de revolução. O resultado é um espelho parabólico cuja velocidade e interconexão. angular está directamente relacionada com a sua concavidade e, por conseguinte, com a distorção angular da imagem reflectida do céu.

(Andrés Ibañez, Através do Espelho)

A imagem é transmitida em tempo real para Linz (Áustria), como parte da exposição Studio(dys)Topia no Festival Ars Electronica 2022, onde uma instalação vídeo a projecta sobre uma superfície circular elevada alguns centímetros do solo numa sala escurecida. A presença e movimentos

SANTIAGO VALDIVIESO

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IVAN BRAVO

SANTIAGO VALDIVIESO

ORQE HOUSE project: 2016 location:Santiago, Chile collaborator: Elías Maturana gross built area: 136 m2 images: © Aryeh Kornfeld

MACIZO installation project: 2024 location: Gallery 8½, Montevideo, Uruguay curator: Pedro Livni collaborator: Juan Oyarzún images: © BARO

Ivan Bravo - Founder Martín Rojas Ortiz - Associate Juan Oyarzún - Project leader Santos - Dog

EL GAUCHAL HOUSE INDEX PROJECT project: 2020 location: Navidad, Chile collaborator: Martín Rojas and Gino León gross built area: 111m2 images: © Bruno Giliberto and Marcos Zegers ALADINO HOUSE project: 2021 location: Puerto Varas, Chile collaborator: Martín Rojas gross built area: 100m2 images: © Marcos Zegers HUMO HOUSE project co-authored with Martín Rojas Ortiz COVER 01 PROJECT project: 2023 location: Futrono, Chile collaborator: Juan Oyarzún gross built area: 185 m2 images: © Marcos Zegers and BARO TAM HOUSE project co-authored with Martín Rojas Ortiz project: 2024 location: El Arrayán, Chile collaborator: Juan Oyarzún gross built area: 174 m2 images: © BARO CRUZ HOUSE project co-authored with Martín Rojas Ortiz project: 2023 - 2025 location: Santiago, Chile collaborator: Juan Oyarzún gross built area: 2170 m2 images: © BARO CASA LOBO pavillion project: 2018 location: GAM - Santiago, Chile collaborator: Gino León, Gabriel Caceres and UNAB students gross built area: 42 m2 images: © Bruno Giliberto ENFERMEDADES PRECIOSAS pavillion project: 2019 location: CCU gallery - Santiago, Chile collaborator: Iván Zúñiga and UNAB students images: © Felipe Fontecilla

ENGAWA HOUSE project co-authored with Stefano Rolla project: 2019 location: Punta Pite, Chile gross built area: 257 m2 images: © Cristóbal Palma CASA BLANCA project: 2024 location: Maitencillo, Chile gross built area: 150 m2 images: © Cristóbal Palma PALAPAS HOUSE project co-authored with Nicolás Domínguez project: 2024 location: Cachagua, Chile gross built area: 436 m2 images: © Cristóbal Palma HOUSE IN 30° project: 2024 location: Santiago, Chile collaborators: Laura Signorelli and Rodrigo Lara gross built area: 302 m2 images: © Cristóbal Palma ECHO HOUSE project: 2025 location: Zapallar, Chile gross built area: 201 m2 images: © Cristóbal Palma A HOUSE ON A SLOPE project co-authored with Nicolás Domínguez COVER 02 PROJECT project: 2025 location: Ilihue - Lago Ranco, Chile gross built area: 108 m2 images: © Cristóbal Palma LIQUID SKY installation project: 2022 location: Coyo, Atacama Desert, Chile and Linz, Austria collaborator: Mauricio Lacrampette, Diego Gajardo, Santiago Valdivieso, Lucas Margotta and Sebastián De Andraca images: © Estudio Ibañez

IVAN BRAVO

SANTIAGO VALDIVIESO

Iván Bravo Architects was founded in 2002 by Iván Bravo, Architect with a master in photography.

Santiago Valdivieso (1986, Chile) studied architecture at the Pontificia Universidad Católica de Chile, achieving his degree of Architect in 2011 with the highest distinction awarded by the school. Since 2015, he has been running his own architectural office.

The studio focuses on small and medium-scale projects, combining resources and practices from architecture, contemporary art, and industrial design. Through a methodology that involves the development of each process of a work, the practice places special emphasis on the definition of constructive details and the material expression of their projects.

Ranging from houses and pavilions to installations and curatorial exercises, projects are driven by a deep interest in form and visual abstraction, seeking to maximize the plasticity of common materials and traditional construction methods.

In 2022 Martín Rojas joined as associate partner, with whom the interdisciplinary project BARO was founded.

In 2018, he completed a Master of Landscape Architecture at the Universitat Politècnica de Catalunya in Spain. His work has been exhibited at Ars Electronica in Linz, Austria (2022) and the Museo de Arte Contemporáneo (MAC) in Chile. In 2022, he was nominated for the Mies Crown Hall Americas Prize (MCHAP) Emerge in Chicago.

Throughout his career, in a continuous horizontal collaboration with local and international teams, his office has won awards and received mentions in both national and international pub-lic competitions.

His work operates as a mediation between technologies, landscapes, ideas, and processes, generating hybrid constructions that range from houses to installations, always engaging with public infrastructure projects.

Spanning solo, collaborative, private, public, and self-initiated projects, his approach integrates diverse scales and disciplines, exploring the intersections between architecture and landscape.