URKU PURA: PART I by Alejandro Viteri

URKU PURA

a tal e of two volcano e s

by: Alejandro Viteri Pa z

W or k Te am : A rc hi tectura l D es i gn

& Pro j ect Development: Ale j andro Viteri

a.v i ter i paz94@gma il .com

I nt e r i or

Design: Carla Altamiran o

car l a l tam i rano95 @h otma il .es

L an d scap i ng: R om i na D e l ga do rom i na d e l to b @gma il .co m

Visualization: C R O Studi o pro y ectos@cro.stu dio

O wner : Davila Garcia Famil y

Printed in Quito, Ecuador

1 . S it e

2 . C oncep t

3 . A rc hi t e ctur e

4 . I nt e r i ors

5 . L an d scap i ng

6 . S ustainabilit y

7 . R en d er i ng

06 14 20 28

Between legends of natural colossi, the traveler faces an imminent duality within a glass box. This environment, never before seen in such proximity, reflects easily recognizable beauties, yet this time with a distinctive language and a semantics that, while embracing the new and artificial, preserves the ancestral and natural. Like an explorer in uncharted territories with a dictionary always at hand, the traveler, throughout his journey between solid voids and glass openings, surrenders to reinterpreting every spatial line with elements that evoke ancient textures and childhood memories. Immersed in what seems to be a vast lake without a defined horizon, the traveler finally kneels to contemplate the expanses of ancient volcanoes.

Entwined with the inevitable contrast, he allows himself to experience the immediate introspection of past experiences and the distant projection of what is yet to be discovered.

A. VITERI, 2024

SITE LOCATION AND CLIMATE

LOCATION AND CLIMATE

Located in northern Ecuador, Imbabura is a province rich in natural resources, ecotourism, cultural diversity, and industrial growth, nestled within the Andean region. The geography of Imbabura is marked by impressive mountains and valleys, with elevations that span from 1,200 meters above sea level in the valleys to over 4,000 meters at the peaks, flanked by volcanoes and lakes. Notably, the Imbabura and Cotacachi volcanoes are iconic in the region, serving as both cultural symbols and major attractions for visitors.

The province’s climate shifts with altitude, creating distinct zones. In the valleys and lower areas, such as the Antonio Ante canton, the climate is temperate, with average temperatures between 15°C and 25°C. Higher areas, like Ibarra, experience cooler conditions, with temperatures ranging from 10°C to 20°C.

Imbabura has two main climatic seasons: a dry season from June to September and a rainy season from March to May. This climate variety supports a diverse agriculture that includes highland crops like corn, potatoes, and beans, alongside subtropical fruits in the lower areas.

BUILT ENVIRONMENT

Traditional Imbabura architecture is well-suited to the region’s specific climatic conditions, blending cultural identity with environmental responsiveness. Interior courtyards are integral to local building layouts, promoting cross-ventilation and natural lighting, which helps maintain a cool, well-ventilated indoor atmosphere. These courtyards serve as communal spaces within homes, fostering social interaction and a strong connection to nature.

Thick earthen walls provide essential thermal insulation, protecting interiors from external temperature changes. Raised plinths are another defining feature, elevating structures above ground moisture and enhancing their durability.

The use of locally sourced materials—adobe, rammed earth, volcanic stone, and eucalyptus wood—highlights sustainable design and reinforces structural resilience. Reed (carrizo) in walls and ceilings adds flexibility, making these structures lighter and more earthquake-resistant, all contributing to a built environment that harmonizes with its natural surroundings.

LOCAL VEGETATION

Vegetation in Imbabura is adapted to the temperate, semi-arid Andean climate, thriving on limited water resources and cooler temperatures. Eucalyptus (Eucalyptus globulus) is a dominant species, highly valued in construction and as a primary source of firewood. Pine (Pinus radiata) is cultivated in forest plantations for its utility in lumber production and erosion control. Agave (Agave americana), which is highly droughtresistant, is commonly used for erosion control, fencing, and landscaping.

Other native species, such as capulí (Prunus serotina) and cabuya (Furcraea andina), provide both ecological and economic benefits, with cabuya fibers traditionally used in rope-making.

The hardy shrub chilca (Baccharis latifolia) contributes to soil stabilization. Gardens across the region showcase ornamental plants like geraniums (Pelargonium), hydrangeas (Hydrangea), and roses (Rosa), reflecting the region’s rich biodiversity and adding color to the local landscape.

SITE LOCATION

EXISTING SITE

The project site is situated within Antonio Ante, in the Santiago del Rey sector, a rural area that fosters the development of a contemporary and forward-thinking residential model. This location, with its gentle topography and slight northward slope, is surrounded by natural vegetation, making it conducive to integrating modern, sustainable design concepts. Defined by unpaved roads and dispersed residential areas, the site’s perimeter provides a peaceful environment conducive to residential innovation.

Privileged views of the Imbabura volcano to the south and Cotacachi to the north contribute significant landscape value to the site. These vistas, coupled with the proximity to rural homes and natural beauty, underscore the potential for an architectural project that is visually and functionally integrated with its environment. The balance achieved between the natural and built environment will allow the project to serve as an example of modern architecture that respects and complements its surroundings.

CLOSE UP

CLIMATE AND SUNLIGHT EXPOSURE

Utilizing Andrew Marsh’s 3D Sun Path software, the relationship between the site’s geographic location and solar position is analyzed. In January, following the December solstice, the sun is positioned slightly to the south, maximizing sunlight in south-facing areas. During the equinox in March, the sun aligns directly above the equator, resulting in balanced sunlight distribution across the site. Approaching the June solstice, the sun shifts northward, enhancing solar exposure on northern-facing slopes, particularly around midday.

The region’s temperate climate and seasonal temperature range allow for implementing various passive architectural strategies. Overhangs and shading devices will be used to control solar gain and limit direct exposure during warmer months. Cross ventilation, facilitated by windows on opposite facades, will maintain air circulation, helping to cool interior spaces. Skylights will optimize natural lighting within the building’s central spaces, reducing reliance on artificial lighting. Finally, cool exterior materials and textures will help prevent excessive heat accumulation, promoting a comfortable and energy-efficient indoor climate year-round.

CONCEPT ETYMOLOGY: IMBA BURA

ETYMOLOGY: IMBA BURA

Some sources suggest that “Imbabura” derives from the Caranqui language, where it is thought to mean “place of preñadilla,” a reference to the region’s fertility and agricultural richness. This interpretation aligns with Imbabura’s historical significance as a vital agricultural zone with abundant biodiversity and a center of food production during the preColumbian period. However, beyond its basic etymology, “Imbabura” carries layers of symbolic meaning that have evolved, linking the landscape with indigenous cultural beliefs.

In the Kichwa language, the name “Imbabura” takes on further depth: “imba” is often associated with mountains and water, both key elements in Andean cosmology. Meanwhile, the suffix “bura” or “pura” is understood as “place” or “region.” Therefore, “Imbabura” could be interpreted as “place of water” or “mountain of the lake,” a fitting reference to the Imbabura volcano’s proximity to Lake San Pablo. In Andean traditions, mountains—or apus—are revered as spiritual guardians and life-giving entities. Thus, the name Imbabura encompasses not only geographical features but also the profound relationship between indigenous peoples and the natural world.

INTERPRETATION

Another interpretation of “Imbabura” arises from an alternative breakdown of Kichwa roots: “impa,” meaning “margin” or “edge,” and “pura,” denoting an “intermediate place” or “between.” Accordingly, “Imbabura” might translate as “the place between margins,” describing a unique geographical position between significant volcanic formations. These “margins” are the natural boundaries formed by the Imbabura and Cotacachi volcanoes, which frame a fertile valley, giving the area its identity and distinctiveness.

The Imbabura volcano to the south of this valley stands as a protector, embodying fertility and vitality, while the Cotacachi volcano to the northwest also serves as a guardian and spiritual symbol.

The proximity of these two geological landmarks not only defines the region spatially but also endows it with cultural meaning. This “place between margins” becomes a dynamic territory where natural and cultural forces converge, with the volcanoes acting as protectors and vital reference points.

LEGEND AMONG VOLCANOES

The local mythology of Imbabura and Cotacachi further enriches the cultural landscape through a renowned love story. According to legend, Taita Imbabura (Father Imbabura) and Mama Cotacachi (Mother Cotacachi) are two “volcano lovers” that dominate the region’s skyline. It is said that at night, Taita Imbabura visits Mama Cotacachi, and from their union, the rivers and lakes that nourish the fertile lands in the valley arise. One such “child” of this mythical couple is said to be Lake San Pablo, whic h lies at the base of the Imbabura volcano.

This myth encapsulates the themes of fertility and interdependence between land and water, both vital to life in the region. Th rough these stories, indigenous people express a complex relationship with the environment, deeply imbued with emotional and spiritua l connections to natural elements that shape both their territory and worldview.

CONCEPT

The architectural vision for the project is rooted in the concept of duality, an exploration of the relationship between contr asts and their balanced coexistence within the spatial environment. This duality is evident on multiple levels: between nature and b uilt form, tradition and modernity, and between the enduring presence of the volcanoes that embody both strength and tranquility. Th e objective is to foster dialogue among these elements, where each complements the other. By embracing aspects of local culture a nd landscape, the project seeks to reflect the distinct characteristics of the region, while also reinterpreting them with a conte mporary perspective. This approach not only seeks balance but allows the space to become a site of reflection on the interconnectedness of humans with their surroundings, where distinctions merge to create a new architectural narrative that respects and celebrate s Imbabura’s cultural and natural heritage.

DEVELOPMENT AND PARTI

Based on this synthesis of geographical and cultural insights, the project adopts the name Urku Pura (Urku: volcano; Pura: between), establishing itself as a symbolic presence “between” the two iconic volcanoes of Imbabura and Cotacachi. Much like the region’s mythic narrative, this architectural proposal seeks to embody the union and interaction of nature’s forces. From its inception, the project has been designed to embody the concepts of duality, contrast, and reinterpretation, while being firmly grounded in the natural and cultural context of Imbabura.

In this way, it does not aim to replicate the existing architectural forms of the region but to reinterpret the region’s environmental lessons, creating a dialogue between tradition and innovation. Rather than merely reproducing local forms or materials, the project strives for a harmonious contrast with its surroundings. This vision honors the past by transforming it, allowing the building to stand as a symbol of both present and future.

In this sense, Urku Pura harmonizes the traditional with the contemporary, establishing itself as a benchmark that honors the cultural roots of the region while paving the way for new expressions of architectural creativity in Imbabura.

ARCHITECTURE SITE PLAN

DESIGN STRATEGY

Reinterpretation and contrast serve as foundational principles in the architectural design, evident in both the volumetric composition and the prominent elements organizing the spatial layout. Covering a gross area of 1,300 m², the residence is distributed across two floors, centrally positioned on the plot to maximize functionality and visual impact. The contrasting volumes create a dynamic interplay of imposing elements and clean lines, fostering fluid circulation and enriching the spatial experience. Special attention is given to visual endpoints that enhance the structure’s presence and integration with the landscape.

Consistent with the client’s specifications, the design emphasizes straight lines and sightlines toward the volcanoes, positioning the residence as a bridge between interior and exterior spaces. This visual connectivity encourages residents to appreciate the surrounding natural beauty. The patio functions as a focal element, acting as the home’s core and promoting interaction with nature. Through these design choices, the project respects regional architectural traditions while transforming them, establishing a harmonious dialogue between the constructed environment and the natural landscape.

VOLUMETRIC DEVELOPMENT

The project site offers two main access points: a southern entrance designated for service access and a northern entry as the primary approach. This dual-access strategy optimizes movement and supports functionality throughout the site. Municipal regulations define the buildable boundaries, guiding the placement and scale of the volumes. A central vertical circulation core becomes a defining architectural feature, establishing spatial hierarchy and connecting both floors, reinforcing the organization and user flow within the residence.

Two primary volumes make up the design, conceptually inspired by local topography and symbolizing the Imbabura and Cotacachi volcanoes. A rounded form represents the feminine, contrasting with a square structure representing the masculine, forming a balanced interplay that embodies duality and unity within the landscape. Respecting local height regulations, the design strategically positions windows and views to maximize the visual relationship with the landscape, creating a seamless link between the built structure and its natural setting.

VOLUMETRIC DEVELOPMENT

The overall massing differentiates between the residence’s public and private functions. The first floor accommodates communal and recreational areas to foster interaction, while the second floor provides private spaces for contemplation. Strategic openings within the main volume frame specific views and create focal points, such as inviting corners that encourage moments of reflection. This articulation enhances natural light and ventilation, supporting the project’s passive design objectives.

A central circulation spine serves as the primary organizing element. On the first floor, it connects the shared areas, while on the second floor, it extends outward, framing expansive views of the surrounding landscape. The main entrance, prominently situated, is complemented by a secondary entrance for daily use, providing flexibility and a smooth flow within the residence. These defined pathways create a fluid transition, inviting exploration throughout the home.

GROUND FLOOR

Upon entering the ground floor, a double-height foyer serves as a dramatic entrance, facing the central circulation core and featuring a substantial wall that directs movement and accentuates the space’s height. Adjacent to the foyer, the living room a nd dining room connect seamlessly to a bar, while the kitchen, complete with a breakfast nook, offers a practical space for daily use. Additional functional areas include a service room and a television room. Outdoors, a lounge connects to the pool and surroundi ng amenities, promoting interaction with the natural setting.

UPPER FLOOR

On the upper floor, a glass corridor links various rooms, emphasizing the double-height foyer’s openness. The project includes secondary circulation through an elevator. Three secondary bedrooms, each carefully designed, share access to a communal terrace that frames views of the landscape. The master bedroom features a walk-in closet, a double bathroom, and a panoramic view of the exterior, fostering a connection with the natural surroundings. The cantilevered perimeter planter, which surrounds the space, functions as a sun-shading element and enhances the freshness of private spaces, integrating nature directly into the li ving experience.

FAÇADES

The project is marked by pronounced horizontality, balanced by vertical volumes that underscore the residence’s massing. This balance between horizontal and vertical elements enhances the structure’s relationship with the landscape, creating a visu al dialogue with its natural surroundings. The building section reveals generous ceiling heights on each floor, contributing to a sense of spaciousness and brightness. This vertical space not only enriches the spatial experience but also promotes natural ventilat ion, enhancing airflow and thermal comfort.

SECTIONS

This design approach reinforces the monumentality of the residence, giving it a significant, elegant presence. The selected materials and facade finishes reflect a contemporary reinterpretation of the local environment, merging modern aesthetics with elements that evoke regional tradition. This integration allows the residence to stand out while harmonizing with its context, emphasizing the symbiotic relationship between the building and its natural surroundings.

INTERIOR DESIGN

REINTERPRETATION

Aligned with the architectural concepts of duality, reinterpretation, and contrast, the interior design strategy for the project draws inspiration from an analysis of both the built and natural environment. The aim is not to replicate existing elements but to reinterpret them in a contemporary style that maintains a strong connection to the cultural context.

Adobe, an iconic material in local construction, is reimagined as a textured finish on exterior surfaces, retaining its familiar texture and appearance yet adapted to a more avant-garde aesthetic. Rammed earth, known for its durability and thermal benefits in traditional architecture, is transformed into a plaster finish that evokes the rustic texture of cement. Similarly, traditional clay tiles are substituted with brick on exterior walls, respecting the warm tones and textures. Wood, a key element in traditional structures, is used as an exposed material in furniture and ceilings, infusing authenticity and connecting the residence to its surroundings. Metal grilles, historically used both for decoration and security, are reinterpreted with thin metal profiles that are subtly integrated throughout the residence, providing a unifying design element.

MOOD BOARD

This combination of materials results in a color palette that draws directly from the natural environment, blending cool and warm tones that complement the surroundings. Thoughtfully placed accents and selected details unify the residence’s style, crafting a space that is contemporary yet deeply tied to its context. The result is a home that, while modern in design and exe cution, maintains a coherent dialogue with the vernacular architecture and natural landscape that envelops it. Each material has been c hosen to respect tradition while projecting an innovative vision for the future of architecture.

MOOD BOARD

Special attention has been given to textures and custom-designed furniture, ensuring that each space reflects unique character and purpose. The design intent is not to overcrowd the space with unnecessary elements but to sustain a refined aesthetic that enhances daily living. Display areas are purposefully integrated to stand out, while a discreet solution has been created to co nceal less prominent areas. This balance maintains the residence’s functionality and style, creating an atmosphere that supports vari ous household activities without compromising comfort.

INTERIOR ELEVATIONS

A modular system has been employed in the interior design, optimizing construction and spatial functionality. Each component, from fixed furniture to movable pieces, is based on a modular approach, which aids execution and ensures formal coherence acros s the project. To prevent visual monotony, a play of rounded elements is strategically introduced, adding subtle sophistication a nd dynamism. These curves, intentionally placed in key areas, soften the modular rigidity and introduce a fluid and elegant aesthe tic, enhancing the technical functionality of the design.

INTERIOR ELEVATIONS

Beyond modularity, the interior design articulates varying heights and carefully placed elements within the space. Each area is purposefully configured to meet the family’s ergonomic needs, considering their routines and the specific function of each s pace. The arrangement of furniture, design of circulation spaces, and transitions between areas are carefully planned to provide comf ort and efficiency in daily use. This approach ensures that every corner of the home serves its purpose optimally, maintaining aest hetic coherence and a spatial experience that responds seamlessly to family life and the quality of architectural design.

SITE VIEW

REFERENCES

1. Cove.Tool. (2023). Cove.Tool (versión 4.0). Cove.Tool, Inc. https://cove.tools/

2. Espinoza Soriano, W. (2015). Los nombres de las montañas sagradas en la cosmovisión andina. Quito: Editorial Abya-Yala.

3. Flores, M., & Villavicencio, R. (2019). Impacto del asoleamiento en el diseño arquitectónico: Un estudio de caso en la región andina. Revista de Arquitectura y Urbanismo, 10(2), 45-62.

4. González Suárez, F. (2018). La cultura y cosmovisión de los pueblos indígenas del norte de Ecuador. Revista de Estudios Andinos, 35(2), 45-68.

5. Gutiérrez, C. (2021). Clima y vegetación en la región andina de Ecuador. Quito: Editorial Abya-Yala.

6. Marsh, A. (n.d.). 3D Sun Path. Andrew Marsh. Retrieved September 28, 2024, from https://andrewmarsh.com/apps/staging/sunpath3d.html

7. Ministerio de Cultura y Patrimonio del Ecuador. (2018). Cosmovisión andina y los apus: Montañas sagradas del Ecuador. Quito: Ministerio de Cultura.

8. Ministerio del Ambiente del Ecuador. (2015). Estudio sobre el uso del suelo y la vegetación en la provincia de Imbabura. Quito: Ministerio del Ambiente.

9. Pérez, L. (2020). Técnicas de ventilación natural y su aplicación en climas templados. Revista de Energías Renovables, 15(1), 22-30.

10. Pérez, M. (2017). Toponimia indígena en el Ecuador: Un estudio lingüístico y cultural. Revista de Lingüística Andina, 12(3), 34-56.

11. Ramírez, J. (2018). Arquitectura sostenible en Ecuador: Estrategias para el diseño pasivo. Guayaquil: Editorial Universidad de Guayaquil.

12. Yánez Cossío, E. (2016). Historia y significado de los volcanes en la región andina del Ecuador. Revista de Historia y Geog rafía de los Andes, 20(1), 58-73.

13. Zurita, R. (2010). Leyendas de los volcanes del Ecuador. Quito: Editorial Casa de la Cultura Ecuatoriana.

All images are authored by the work team.

Al e j an d ro Vi ter i

a.v i ter i paz94@gma il .com

I nter i or D es i gn:

C arla Altamirano

car l a l tam i rano95 @h otma il .es

L an d scap i ng :

R om i na D e l ga do

r om i na d e l to b @gma il .co m

Vis u ali z a t io n :

C R O Studi o p ro y ectos@cro.stu di o

Printed in Quito, Ecuador

by: Alejandro Viteri Pa z