Jaime Rouillon by Fran_Pieters

J A I M E R O U I L LO N A MONOGRAPH

K A R O L I E N B O G A E RT S & F R A N P I E T E R S

M A T E R I A L S , C R A F T M A N S H I P, A D A P T A T I O N

INDEX

INTRODUCTION .......................................................P7 FORMATION .......................................................P8 THOUGHTS .......................................................P9 ADAPTATION .......................................................P10 SILENCE & HONESTY

.......................................................P11

WORKS .......................................................P12 SAN JOSÉ ...................................................P15 COSTA RICA ...................................................P41 INTERNATIONAL ...................................................P53

REFEXION .......................................................P67 BIBLIOGRAPHY .......................................................P69

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INTRODUCTION

Jaime Rouillon is one of Latin America’s most significant and well known architects. He was born in Peru in 1961. As a child he moved to Costa Rica together with his family. After receiving his degree in architecture at Universidad Autónoma de Centro América in San José, he obtained his Master in Architecture at the University of Pennsylvania. A few years later, in 1994, he started his own architectural office. An office that has gained a lot of recognition during the years. He is the only architect in the country that has received two national prices (first price of the Costa Rican Biennale of architecture in 1996 & 2002. Jaime Rouillon strives for an unique designing approach towards each client. The characteristics of the site and the personality of the client are the starting point for each project. Because of this, there is no visible connection between his projects. His architecture highlights a great affinity for the interior, pure materials, textures and light.

FORMATION

Jaime Rouillon was born in 1961 in Lima, Peru. He spent a major part of his childhood in his motherland, but he and his family had to flee the country due to the opposing threat caused by the dictatorship of General Velasco. They found a safe haven in the democratic Costa Rica. Jaime started studying architecture, but couldn’t finish his degree as his family had to return to Peru caused by piled up debts. In Peru, he continued his architectural formation. He worked an intern at Baracco’s Studio. When he returned to Costa Rica he continued his degree and in 1984 he graduated, Cum Laude, at the Universidad Autónoma de Centro América. After his graduation, he decided to go the US to obtain a Masters Degree. In 1986 he finished his Master in Architecture at the University of Pennsylvania.

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After experiencing various cultures and countries, Rouillon makes the decision to start his professional career in Costa Rica. He searches for a free and spontaneous architecture trough the experimentation with different materials. Although he works in Costa Rica, a mix of a Peruvian and a North American approach can be found in his architecture. In 1994 he starts his own architectural office in San Jose, Jaime Rouillon Arquitectura. JRA is an office characterized by a great affection for context, site, materials, textures and highly personal approach towards each client.

Jaime Rouillon Arquitectura turned into a successful office with a growing list of projects and clients. In 1996 they are rewarded for their work. They received the first prize of the third Costa Rican Biennial of Architecture for the project ‘Hotel Si como No’. Six years later, in 2002, they win the JBQ Gran Premio de Arquitectura of Costa Rica. In the following years more awards and honourable mentions will follow. Besides Rouillon’s work in his own office, he has been teaching in for several years. He has been a professor at the Universidad del Diseño (1994 - 1996) and at Universidad Veritas (1997-1998). He is also a permanent collaborator at the Museo de Arte y Diseño de Arte Costarricense in San José.

THOUGHTS ON ARCHITECTURE

Costa Rica, The US and Peru all had an influence on Jaime Rouilon’s work. Those influences make Rouillon’s practice original and give him unique insights and ideas about architecture. When asked about his main tool to design, Rouillon gives a surprising answer: Fear. He believes that fear is the one thing that pushes people to cross their limits. It’s the tool that makes them go further than what they’re used to. It makes them come out of their comfort zone. That makes fear the perfect engine to create outstanding, out of the norm architecture. Rouillon has some worries about architecture and its impact. Firstly, he worries about the architectural profession itself. Rouillon thinks about architects as an endangered species. Endangered by the technology, which gives people the feeling that an architect can be replaced. Secondly, endangered by the lack of value the public gives to the skills of an architect. “Especially here in Costa Rica”, he says, “People would rather have an engineer design their houses.” Rouillon also worries about the environment. He believes that the performance and use of energy consumption in the design should be taken into consideration from the start of the initial sketch. He wants architects to be more efficient with the use of resources to put a hold to climate change. In his own architecture, his worries are mainly about compromising with honesty. A clear message and honesty towards his clients is one of the most important values in his practice. Jaime Rouillon believes that architecture should work as acupuncture. He states that when projects are strong and when they have an influence, they become key projects. By placing those carefully and thoughtfully into the city, they can improve the urban environment. If there’s one thing Jaime Rouillon hates, it’s repeating himself. He likes his works to be out of the norm. that’s maybe why some of his works have been seen as crazy. “If out of the box is seen as insanity, my works indeed are crazy,” he stated. When looking at his works, you can’t find an apparent formal connection between the projects of JRA. Jaime wants his projects to have their own identity, with an eye for client, craftsmanship and materials.

ADAPTATION

Adaptation is a keyword in Jaime Rouillon’s work. He tries to adapt his projects to two main things: To the environment and to the client. Those two forms of adaptation help Jaime to prevent repeating himself without the need to follow the fashion trends. Jaime Rouillon searches the essence between the site and architecture. He understands that every project is seeded in a certain place with a certain context. So he starts every project with the idea that it needs to be integrated in his environment. This strategy makes gives every project a different challenge. He analyses every site to be able to understand the environment in order to design a better functional and healthier project. His architecture responds to the physical aspects and the needs of the place as much as to the program given by the client. Jaime Rouillon has the belief that every customer is different so the project should be too. He tries to adapt to every client, and this makes of his practice the specialist in “High end custom design”. The custom design is visible in detailing, use of materials and different atmospheres. He analyses the program to make sure that the clients get the ultimate satisfaction of their needs and wishes. JRA strongly believes that great projects only can be created by mutual trust and respect between the client and the architect.

SILENCE AND HONESTY

Jaime Rouillon went on a retreat to a cave. Although it was a lonely trip, it provided him with a new insight towards architecture trough a simple experience. In the cave there was a puddle and a ray of light entered the cave from some cracks in the rocks. The light fell into the puddle and reflected the sky and trees from the outside. Rouillon encoutered this moment as a metaphor for architecture. To him, it represented the fact of creating everything out of a small thing. Finding the essence, which represents everything. The ultimate purification. A kind of silence that speaks so loud without using any words. In Costa Rica, a culture of seeking for attentions reigns. Rouillon uses silence as a tool to object to this. His projects have a rather ‘silent’ exterior. It is on the inside that his story really starts. A surprising connection of spaces appears with different forms and various atmospheres. Every project radiates an unique atmosphere, this to please the individual needs of every client. Jaime Rouillon always showed a bigger affinity towards the interior. This predilection for the interior is pointed out by his attention for materials. Honesty is the mayor keyword regarding to Rouillon’s use of materials. He likes to work with materials in their natural form and tries to avoid processing them. The choice of materials is a decisive moment in the designing process and is dependent on each project. Image 3: Bufete Oller

Rouillon likes to zoom in even more and focus on the smallest details. He emphases the importance of texture in his projects. The right texture in the right material. The search for a certain type of wood, which can create the precise pattern and relief in a concrete wall. Light is another component that concerns Jaime Rouillon. How does the light enter the building and what does it highlight? There is no light without shadow. The contrast between those two is another determining parameter in Rouillon’s design process.

Jaime claims that he doesn’t have a signature style. Neither does he like to repeat himself. It’s hard to find a visual connection in his oeuvre. He distinguishes himself through his method of designing. Adaptation is one of the key elements in this process. In every project Jaime did, the site and the client were fulfilling a major role. We aspired to compose a monograph that combines ten works of him from different cities, regions and countries. By doing so we hope to accentuate his method of working, where the client and (especially) the site are the foundations for the design of his projects. In this monograph we will start in San José, from there we will continue to the rest of Costa Rica and eventually will end with some projects abroad. We hope that this journey reinforces the importance of site, location, climate, and views in Jaime’s work process.ation, climate, and views in Jaime’s work process.

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WORKS

SAN JOSÉ........................................................P11 COSTA RICA....................................................P21 INTERNATIONAL..............................................P31

SAN JOSÉ PROVINCE

JOTABEQU

Location: Year: Surface: Photographer:

Barrio la California, San José 2000 - 2002 3000m² Libby

A surprise-effect. A big contrast between what shows on the outside and what happens on the inside. This building had been abandoned since the 1940’s. It’s located between the old Customs building on the North and the Atlantic Train station to the west in the center of San José. JRA decided to maintain the old façade, but completely changed the interior. They didn’t touch the existing structure; this decision resulted in an open space, with high ceilings, organized by columns. Going into the building you get surprised by the colors, textures and lighting. All these elements together add up to a vibrant and creative work atmosphere. Communication and integration were two of the main key elements for this project. Rouillon tried to create an open and transparent framework, where the creative brain gets stimulated.

He managed to organize a kind of hierarchy in this open space, through the use of ‘temporary’ elements. Firstly he played with different colors. By using the combination of a bright orange floor and deep blue tiling, he was able to generate different sub-work zones in the large open space. A second advantage of the floors, are their sound absorbing qualities. Another tool he used is lighting. Big globular white lamps are floating above the workspaces. They alter the experience of space, as they reduce the sensible heights of the ceiling without losing this feeling of openness. They provide a more intimate atmosphere. While in the circulations areas, a row of lined up spots (in the floor, ceiling or wall) will guide you in a certain direction. A third element is the use of movable panels. By placing the panels in a certain way, you can create spaces with a different intensity of privacy. They can also be uses as a blackboard for brainstorming sessions or for gathering information, references and ideas. In fact it’s an oversized sketchbook. These playful elements can be found throughout the whole office. A large sitting area is built into the floor of the office. Silent boxes in each ‘department’ do provide the opportunity for the employees to seclude themselves for a while. All these elements are supposed to stimulate the creativity off the staff members and to encourage them to release their inner child. In fact the whole office can be perceives as an adult version of a playground.

Two concrete winding staircases lead the employees from the ground floor to the mezzanine at the second floor. These concrete stairs are located in the open space as art sculptures. The mezzanine contains machinery and dining rooms. The biggest eye catcher of the projects is the sky booth. This floating metal box is supported by an independent new structure and contains four conference rooms. It has an elevated position in the room and the represents the importance of the clients. The box has large windows, which offer a great view on the work floor. By doing so, the clients are able to see where their project came to existence and was developed to a finished product. They can have a taste of the creative atmosphere. It’s important to stress that this is a two-way interaction. Not only the clients relate to the work floor, but also the employees can see what’s happening in the conference rooms. In this way they are involved in each stage of the process. Jaime Rouillon created an office that offers a certain freedom to its employees. Subtle elements (floors, light, panels etc.) subdivide the open workspace without losing its spatial qualities. All these well-considered design decisions lead to the existence of the ideal creative working atmosphere that constantly stimulates the employees. An environment of opportunities, that evolves around communication. Thanks to this strong and well-executed concept, Jaime Rouillon Architects were awarded with the “First Price of National Costa Rican Biennial of Urbanism and Architecture 2002”.

OLLER LAW FIRM

Location: Year: Surface: Photographs:

San José 2001 - 2002 700m² Sergio Pucci

This project is a renovation of a warehouse, one of the sheds of the urban environment. The renovation was done in two steps: the first and biggest one in 2000, the second one in 2010. The second intervention was focussed on creating an dining room in a part that wasn’t really used until then. The first thing you notice when approaching the Oller law offices is the concrete, straightforward, visual hermetically closed façade. The offices are located one block away of the Pacific railway train station, in San José. This façade is Rouillon’s way of dealing with the surroundings of a rundown neighbourhood. It also expresses a clear conceptualization. A sealed façade hides an open interior with big architectural gestures. The inside is divided in three clearly different parts: the offices and conference rooms, a double-height room for the lawyers building and an indoor private parking area which is a real luxury and rare convenience in the city of San José. The original, steel structure of the building is visible and painted red. Together with the visible air conditioning ducts, they give the place a more industrial character. The combination with

the other materials, like wood, glass and concrete, make the project somewhat eclectic but also very contemporary and new in Costa Rican interior design. Rouillons great talent for detail is yet again really clear in this renovation. The staircase is a perfect example. The handrail is not placed on the wall, but integrated in the concrete. The part where your hand is, is made smoother than the rest of the wall, allowing your hand to slide on the rail as you go down. The light in the staircase shows Jaime Rouillons great craftsmanship in creating atmospheres. The light together with the textured concrete gives this staircase a serene and mystical air. . “I only wanted to make a dining room, which was a fairly simple intervention,” explains Jaime Rouillon, “As the building is very flat and has very wide sidewalk, we wanted to invade the public space with an overhang in the dining area.” The second renovation, 10 years later, was focussed on the dining area. While Jaime Rouillon added a bridge made of glass blocks in the first renovation, a sandblasted glass bridge was added in the second renovation to connect the new part to the older.

The light is coming in via ellipse shaped windows which are a retake of the values from the first intervention and leave a pleasant atmosphere in the walkway.

Image from revistasucasa.com

As the dining area is only meant for employees and not for customers, the dining area had to have a different and more relaxed atmosphere than the corporate atmosphere of the conference rooms. The wooden floor is one of the elements that give the dining room that intimacy. In the dining room, Jaime Rouillon proves his attention to detail again: The table had to accommodate 14 people and to be able to do this, a table with standard measurements was no possibility. Rouillon asked Francisco Herrero, a woodworker who works with wood waste, got to make the out of the ordinary table. The fact that this imposing table was a personal design and was handmade, gave the project a native and local touch. In this building, Rouillon managed to combine both postmodern elements with traditional ones, which results in a work of great originality. Eclectic by use of material, clear by conceptualization, and big in architectural gestures. This combination results in a functional but breath-taking an refined project.

CASAVAL

Location: Year: Surface: Photographs:

Escazu, Costa Rica 2012 560m² Sergio Pucci

When approaching Casaval, the change of materiality of the floor represents the gradual transition between the public and the private space. The concrete sidewalk continues in a pattern of concrete bricks and transforms into stone tiles when the perimeter of the building is reached. The entrance door of the building leaps back a few meters to the inside from this perimeter. By doing this, an exterior income hallway is created. A sheltered transition zone between the outside and the inside. Not only the material of the floor gradually changes towards the inside, but also the level. The entrance of the building is located one step higher as the rest of the outside space. The front faรงade of the building has a rather modest and closed outlook. Some volumes seem to be extended out the faรงade towards the street. They break the rather monotone rhythm of it. In addition to this, the wooden volume at the ground level gives some more character to the front side of the project. We can recognize Rouillons predilection for detail in the choice of lights. He integrated strips of light in-between the different wooden volumes and in the stone tile floor. The composition of the illuminated lines merges perfectly with the geometry of the faรงade.

Due to the placing of the front door, the visitor is immediately lured to the left side of the building, which is the most public and open side of the project. Jaime provided a visual connection from the entrance hall towards the outside. Al these spaces flow into each other, only separated by a height difference of a few stairs. The materiality of each room depends on the gradation of privacy and intimacy; the same system is applied on the exterior terrace spaces.

The plan of the project seems to be a series of rooms, almost a kind of maze. We experienced Casaval more as an architectural promenade. Each room offers a different experience of space, a different materiality and a different function. The project exists out of three levels. The entrance is at level 0 which contains most of the formal rooms, but also the kitchen and a smaller dinning space. The lower level provides a parking space for the residents and a bedroom. The upper level contains the most intimate sitting area and some terraces.

The atmosphere of each space isn’t readable on plan, but expresses itself by the materiality and the relation to the outside. Let’s start with the first room in our architectural promenade. Even though this sitting area has a stone floor, it isn’t perceived as a cold room because of the mix of materials (the wooden ceiling, the concrete wall and the mix of textures from the sofa, carpet and chairs). The formal sitting area, with a stone floor, has a profound relation to the exterior trough the big windows. In addition to this, also the material of the floor continues to the terrace. This terrace combines several natural elements. It incorporates a water surface, some greenery and because of its open character, it allows light to enter into the sitting area. The water surface reflects the architecture of the project. After descending a few stairs, we reach the formal dining area. This space has magnificent view on the city and a direct connection to the terrace. While the other terrace had a more aesthetic value, this one has a more functional one. We can detect this difference also in the materiality. In contrast to the other terrace, this one is build up by a wooden deck. Which creates a rather warm and cozy atmosphere. There are two outside gathering places. The intimate one, at the right side, contains wooden benches around a small bonfire. The second one is more spacious, which enables the residents to entertain a bigger group of guests. Let’s go back and switch to the other side of the entrance. Here we can recognize more informal spaces. A smaller dining room, where the relation isn’t focused towards the outside but on the interactions that are taken place on the inside. It’s a family room, rather than a place to receive and impress guests. This room connects to the kitchen, but can be separated by a sliding door. The coldness of the stone floor is compensated by the use of a darker wood in the furniture, doors and windows. The most inti-

mate living room is located on the upper floor. Just like the kitchen and the dining room, this space is more introverted. The stone tiles are replaced by a wooden floor, which in cooperation with the wooden ceiling results in a warm and cozy atmosphere. By playing with materials and the relation to the outside, Rouillon succeeded in his goal to create a series of different experiences in one house. From the more formal rooms with a lot of light and a view over the city, to the intimate family rooms with a warmer atmosphere due to the use of materials. Even the terraces each have their own character and qualities. Rather than a house, we should see this project as an architectural promenade.

CORBETT HOUSE

Location: Montana del sol, Piedades de Santa Ana West-San José Year: 2001 - 2002 Surface: 600m² Photographer: Oscar Abarca & David Romero

The Corbett house is one of the projects where Jaime Rouillon shows his talent for working with different materials and respect for and adaptation to site and client. The house that he renovated and enlarged is part of a dwelling complex designed by architect Julia Van Wilpe. The setting of the complex mirrors the landscape and characteristics of San-José. The original house is a combination of 45 degrees right angles and decks, surrounded by high slopes, protected with roof tiles. Jaime Rouillon shows off his ability to adapt in this house. He reinvented the south façade, with respect for the original. The façade includes a new, not steep entrance stairs, executed in concrete. The first part of the stairs is wide and visible, and blends perfectly with the façade. The second part of the stairs is less wide and screened by walls. This way, Rouillon could make the grand gesture of making a wide, not steep stairs without losing the subtlety. The elevator that connects the parking lot to the house’s access level was on request of the client. As always, Jaime Rouillon took the request of the client into account. He integrated the elevator perfectly into the house. The elevator tower –in the corner of the new stairs- does not prejudice the composition. On the contrary, the element of the elevator makes the building just that little more interesting from all sides. The entrance itself is a wooden pergola protected by a glass roof. This gives an interesting shade and sunlight pattern and keeps the entrance dry. Going further into the house, the floor levels change, integrating perfectly into the topography. Inside, Jaime Rouillon decided to preserve some of the doors and walls. This is one of the examples where Rouillon shows his respect for the original building.

Going down to the end of the main axis, you find yourself in the living room which gives a view on nature. The master bedroom also has a stunning view, but here the view is oriented on the Central Valley. The balcony that’s manifested in the façade gives the resident an opportunity to enjoy the view even better. This project also showcases Jaime’s affinity with materials. By using wood and natural stones, together with steel and glass, in a perfectly balanced way, Jaime Rouillon adapts perfectly to respectively the site and the time of construction. The façade facing the swimming pool is constructed in exposed concrete with volumes positioned in canon. The volumes form a screen for the pool towards the south. Thin slabs are covering the accesses. At the end, the staircase leads to a sober wooden terrace, next to the pergola at the entrance.

Location: Santa Ana West-San JosĂŠ Year: 2006 Photographer: Sergio Pucci

L4 is a family house located in Santa Ana, San JosĂŠ. It was completed in November of 2006. One of the most import features of this site are the surrounding trees. The name of the project refers to the construction axis of the building. This axis functions as the base of the design. It determines the layout of the different spaces and influences the atmosphere in each room. The key element of this construction is a 60-meter long concrete wall. It creates a separation between the public and the private space. The texture of the concrete is caused by a wooden formwork and refers to the numerous trees, which are surrounding the site. This example illustrates the thorough design-approach of Rouillon and his predilection for details and textures. Another key element of this project is water. Several water surfaces are reflecting the surrounding trees and the house itself during the day, as well as during the night. Together with the shadow of the trees, the water operates a cooling element and creates an agreeably climate on the site.

The goal of Rouillon was to create a certain atmosphere and experience: A paradox between the exterior and interior of the project. To clarify his intentions, he refers to the Mercado Central (located in the city center of San JosĂŠ). From the outside, it appears to be an enclosed and solid volume, but when you enter it your perception completely changes. The inside is an intriguing network of streets, levels and incidences of light.

Jaime Rouillon exhibits a remarkable interest for the way you access the building and for the transition between the public and private space. A first indicator for this is the big concrete wall, as mentioned before. Another one is the design of the path that leads to the entrance. The first element that you approach is a grand staircase that brings the visitor on the same level as the house, which is built on a platform. A clear transition from the public street to the domestic sphere of the house, an altered experience created by the change of level. After the platform is reached, the path continuous and forms a passage that crosses an extensive water surface. The calming atmosphere of the water takes the visitor by surprise and creates an almost meditating effect. Rouillon creates a place where people can isolate themselves and enjoy the quiet ambiance of the surroundings. The materiality of the project enforces the concept of permanence. A design that doesn’t follow the current trends, but is made to last. Pure materials that can’t go ‘out of style’. Stone, concrete and metal accentuate the firmness and persistence of the building. A project with honest materials that becomes one with its surroundings.

COSTA RICA

SI COMO NO HOTEL

Location: Year: Surface: Prize: Photographer:

Manuel Antonio, Quepos 1994-1995 300m² Gran Premio Biennal (III Bienal de Arquitectura y Urbanismo de Costa Rica 1996) Oscar Abarca & “Hotel Si Como No”

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In 1995, Jaime Rouillon got the assignment of making an extension to the ‘Si Como No’ hotel in Manuel Antonio. The main volume of the building, where Jaime Rouillon included the reception area, chambers and conference rooms, is a real eye catcher thanks to its wedge shape. The building is embedded in the topography of the site, but the shape arises from the wonderful green surroundings of Manuel Antonio and directs the eye from the jungle to the sea. The topography goes down towards the sea, while the roof erects towards it. The roof is carried by 10 columns, and separated from the wall by a stain glass window in green colours, which gives the illusion the roof is stretching itself and is floating towards the sea. That way, the balcony almost gives you the feeling you’re in a ship, ready to set sail. This setting and sea view make the balcony the perfect spot to celebrate marriages Image 27

Once again, this building is a perfect example of the magic Rouillon can make with materials. In the main volume, the colours and texture of the stain glass match the outer and inner wallsâ&#x20AC;&#x2122; natural stones. Out of the geometric main volume emerges an organic shaped wall, leading to a wooden pergola covered with glass, located on the east side of the main volume. The floor continues from the interior to the exterior, and the wooden structure of the pergola echoes the pattern of the stain glass, making the pergola and the main volume even more a whole.

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In the courtyard, concrete, wood and natural stone come together with plants and greenery in a zig zag shape in a harmonious way. The balanced combination of the natural stone and wood with more delicate materials as glass gives this building a relaxing and pure atmosphere. Whist the natural materials reflect the site very well, the shape of the building makes it stand out in nature. This equilibrium makes this expressionist building an outstanding work “ With thermodynamics we improve the quality of life” is written on the JRA website. Jaime Rouillons attention for the climate manifests in this project. An elaborate study had to make sure that the building has an pleasant temperature without using too much resources. They solved the problems of this tropical climate with wide openings that generate cross ventilation so a comfortable temperature is guaranteed. This enlargement of the ‘Si Como No’ hotel got Jaime Rouillon his first big prize. The ‘Gran Premio Biennal’ was awarded to him in 1996 for the augmentation of the hotel with respect for the environment in avant-garde style.

SOUTHOUSE

Location: Year: Photographer:

Nosara, Guanacaste 2009 Sergio Pucci

Jaime Rouillon Architects started the Southouse project at the end of 2009, the house is located in Nosara, Guanacaste. As the project was designed and built with a future sale in mind, the program is quite general. Southouse is a luxurious residence with three bedrooms, a gym and a spacious (interior and exterior) social area that includes a pool. We can easily recognize this as a Jaime Rouillon projects even tough he doesn’t have a signature style. It’s not about the expression of the building, but it involves the use of a certain language. A language that differs from place to place and always relates to the site. Adaptation is a major parameter is his design process. Here, Jaime used a longitudinal structure that blends in with its surroundings. The horizontal windows offer a panoramic view towards the ocean. Another key element is the giant clay red wall, which has a surface of 350m2). According to Rouillon it is a response to the site, to celebrate the red earth and to contrast and accentuate the so abundant vegetation. The rough structure and the color of the wall are reflections

of the surrounding area. The wall blends in and becomes a part of the cliff. The red color contrasts with the white color of the interior walls and makes the warmth of the wood pop out even more. Rouillon doesn’t design for the moment, but invests in materials that will lasts for ‘ever’. He doesn’t consider his projects as temporary objects, but as monuments that will change trough time. He added a metal framework around the windows in the red wall. He is intrigued by the future effect of corrosion, which will give the framework a rusty color and eventually will start to stain the wall as well. This is another reference to the color of the earth.

Jaime chose wood for the materialization of the exterior spaces. By covering the floor as well as the ceiling with wooden planks, he created a wooden cave. It refers to the body of a ship, but most of all it protects the interior from sun and avoids the over-heating of the rooms. In the living space, this wooden cave also contributes to the view. It frames the panorama that starts at the pool, continues to the sea and goes as far as the eye can reach. Jaime Rouillon always strives for a certain experience in his projects that alters the perception of the visitor. Here you approach the house from the forest and immediately you are sucked in trough a funnel shaped entrance. Concrete stairs lead you to the entrance

door, which is located on a lower level. A concrete wall on each side limits the downhill path. The house itself blocks the view of the visitor. When entering the building you arrive in a rather small hallway, in order to enlarge the contrast when you reach the kitchen and living area. Light enters the space trough a big window. Thanks to the relief of the forest, a higher degree of privacy is provided as the hill hinders passers-by to peep inside. The coldness of the stone tile floor is compensated by the wooden wall, which functions as element of direction. Three bedrooms are located behind this wall. Each of them has a wooden floor that continues over the terrace and visually enlarges the room. It also decreases the border between the interior and exterior. The living area is located at the end

of the entrance corridor. There is a big contrast in the experience of space. Suddenly you are in large and open room that flows over into the outside and only stops at the horizon. The materiality of the floor changes in the middle of the living room. The stone tile floor stops and a wooden deck continues. By applying the switch of material in the middle of the room, it seems like the exterior invades in the interior. The harsh border between inside and outside fades away. We can consider this path as a narrative that Rouillon created to astonish the users and accentuate the beauty of the site.

Jaime Rouillon always strives for a certain experience in his projects that alters the perception of the visitor. Here you approach the house from the forest and immediately you are sucked in trough a funnel shaped entrance. When you enter the building you arrive in a rather small hallway, in order to enlarge the contrast when you reach the kitchen and living area. There is a change of scale a. Suddenly you are in spacious and open space that flows over into the outside and stops at the horizon. We can consider this path as a narrative that Rouillon created to astonish the users and accentuate the beauty of the site.

INTERNATIONAL

CONSTANTINI MUSEUM

Location: Year: Surface: Photographs:

Buenas Aires, Argentina 1997 300mÂ˛ Jaime Rouillon Arquitectura

In the late 90â&#x20AC;&#x2122;s, JRA participated in one of the most important architectural competitions, demonstrating their relevance in International architecture. The competition requested a proposal for the Latin American Art Museum (MALBA) in Buenos Aires. The museum was desired by Eduardo Constantini, entrepreneur and private collector, who wanted to preserve and exhibit his valuable collection. To realise this long held wish, he handed out US$25 million. The competition received 430 designs from all over the world. JRA didnâ&#x20AC;&#x2122;t win, that honour was reserved for three young architects from Cordoba. Nonetheless, Rouillon had a proposal for this museum thatâ&#x20AC;&#x2122;s worth discussing.

The building has an expressionist character. The wild boomerang shape creates a contrast with the meticulously placed trees on the site. The building is five levels high, with one level sub-zero, which makes the height of the museum correspond to the height of the building across the street. The way he handled the site is one we are not used to see in the works of Rouillon. Rouillon interfered in the topography in this project, which results in a back entrance at sub-zero level. This operation creates a more intimate exterior square, that fits perfectly in the buildingâ&#x20AC;&#x2122;s boomerang shape. In the front, a wide, slowly climbing stairs brings you to the access level. The stairs and hallway are shaped as a cone, leading the visitorsâ&#x20AC;&#x2122; sight right through the glass of the atrium to the exterior. That atrium is located in the heart of the boomerang shaped building and connects the five floors visually. It also brings in most of the natural light, as there are not much other windows in the building, except on the two ends of the boomerang. Compared to the enormous entrance stairs, the other ones are quite small. All the stairs are locates in the atrium, giving a nice view on the atrium and to the exterior of the backside. The stairs are boomerang shaped, except for the one going from the access level to the underground level. The bigger part of the services included in the project like the auditorium, cafeteria, parking lot etc., can be found in the lower part of the building, mostly sub-zero. The sub-zero part is bigger and doesnâ&#x20AC;&#x2122;t follow the boomerang shape like the rest of the levels. The building gets a more open plan level by level, making more place for art as you go up. For the transitory and permanent exhibitions, the interior was designed as a container on the third and fourth level. The big span that creates the open plan is realised with the help of eight columns. What is remarkable, is that there is almost no right angle in the museum, which contributes to its expressionistic character and the dynamics of the museum. This museum deserved a place in this publication because of its great spatiality, the different approach to the site and because it shows the international character of the architect bureau.

SKYCONDOS

Location: Year:

Lima, Peru 2012

“When the empty space becomes content, experience and fantasy, the other and the self, externality and interiority.“ Jaime Rouillon This project is located in Rouillons motherland Peru, to be more specific in Lima. The building process started in 2011 and the Skycondos were finished in April of 2012. His office received an honorable mention for this project. Lima is a city of contrast. Rouillon chose this aspect as a base for the conceptual design. He translated this is a paradox: An ingenious aerodynamic system in a rather simple looking building. This project offers luxurious and sophisticated residences with all the modern comforts. Another key concept for this building was the system of served and servant spaces. The grouping and isolating of the servant spaces (stairwells, elevators, exhaust and intake vents, and pipes etc.), created an open space for the served spaces (residences). Served and servant spaces is a common used term in architecture, but it was Louis Kahn who turned this term in architecture principle. By using this principle an empty plan derives that creates a lot of freedom and spatial fluidity. The two vertical concrete ‘columns’ bear the building and support the aerodynamic performance.

We can notice a clear contrast in the materiality: the solid concrete and the transparency of the glass. The glass part captures the light and shines as a bright weightless box between the two solid concrete columns. On the interior, glass-sliding panels provide flexibility and the adaptation to different situations. A different degree of privacy is generated according to the placement of the panels.

CORBETT -DALLAS RESIDENCE Location: Year: Surface:

Buenas Aires, Argentina 1997 300m²

Jaime Rouillon is an international formed architect, both in work and in studying. The Corbett-Dallas residence is a perfect example for this internationality as it is located in Dallas and illustrates the knowledge Jaime Rouillon developed working and studying outside of Costa Rica. The transition between the interior and exterior of the building is perceived as tight, which is an international style influence that Jaime got from his experiences abroad. The Corbett-Dallas residence lies in an area of extreme temperatures and endless desolated landscapes. Only two levels high, the horizontal building integrates perfectly in the flat horizon of Dallas. The natural stone, used for the walls of the building, is a reflection of the site as well. To keep the temperatures under control but let the light come in, Jaime Rouillon organized two parallel volumes around a central patio and an atrium. The glass atrium got transparent triangles on top, which let the light come in but filter the harsh radiation of the sun. This way, Jaime Rouillon made the atrium a place where art exhibitions could be held. Besides this main building,

there are two other smaller edifices. One is connected with the main volume with a continuous roof, while the other one makes a connection to the main volume by the extension of a wall. Walls emerge from the house creating intimate walled exterior rooms. Some of the walls are strategically placed to give privacy to the rooms which are equipped with big windows, without blocking the view completely. The majority of the walls are as high as the building, creating an private space, while others are really low to allow a view on the landscape but still mark the borders of the property. The driveway of the property is quite long compared to the building. The exterior surrounded by walls is paved with tiles all around. The pool area has a roof supported by a colonnade, which gives a vertical rhythm on the flat building. The four chimneys give the faรงades an extra element which increases the complexity of the composition of the elevations.

REFLEXION

As we progressed with this monography, we could really see that Jaime Rouillon is loyal to his values. The attention for site and customers is a constant throughout his whole oeuvre. But Jaime Rouillon adapts his architecture without losing himself in the adaptation. He keeps his own focus points. His attention to materials and detailing is present in all his works. It brings his works to a higher level, and gives them a rich allure. Jaime Rouillon says he doesn’t have a specific style, but those values and focus points bring all his projects together. This assignment was our first opportunity to get to know Costa Rican architecture and in particular, one of Costa Ricans most famous architects. As we had never heard before of Jaime Rouillon, we were very curious to find out who we was and what kind of an architect he would be. We were very astonished when we opened Jaime’s site. Every project was described in just a few lines. Until now we have always been used to architectural sites that contain diagrams, plans and sections, which explain the concept of each project. Here we only found pictures and occasionally a plan or some sketches. Due to the layout of the site, we perceived it more as an advertisement to lure clients trough the luxury and the outlook of the projects rather than by the concept and architectural qualities of them. So at first we didn’t really get the fuzz about Jaime Rouillon. But we are happy that this work forced us to look further than the pretty pictures on his website. Therefore, we thank our teacher, Juan Carlos Sanabria. This assignment made us appreciate his work, and discover the tropical architecture. The process of understanding his architecture and of recognizing the implemented concepts was rather difficult. This due to the lack of plans, sections and information in general. We were stunned that there was so little information to be found about one of Costa Ricans greatest architects. The most pleasant surprise for us was the eclectic use of material. Jaime Rouillon combines so many different materials and is still able to let them work together in harmony. He succeeds in finding the right balance again and again. We admire the way he creates a warm atmosphere by bringing all these unique colors, patterns and textures together. Our third and last remark is about Costa Rican architecture in general. We were very surprised by the lack of architecture in the daily life. Here, architecture can mostly be found in the private sector. It’s still considered as a privilege for the more fortuned ones, rather than a tool to the serve the public. You won’t find many architectural highlights in the streets of San José. They are like hidden gems, built in remote beach areas or high in the mountains. This kind of architecture focuses on the client only, rather than on a whole community. We hope that with this publication, people from outside Costa Rica can enjoy the beauty of the Costa Rican architecture. And especially the architecture of Costa Ricans most famous architect: Jaime Rouillon.

BIBLIOGRAPHY & IMAGES Books: Barahona Ortega, Luis Diego, Jaime Rouillon. Costa Rica, Costa Rica 2004

Websites: http://architizer.com/firms/jaime-rouillon-arquitectura http://www.archdaily.com/535062/casaval_jaime-rouillon-oviedo-jaime-rouillon-oviedo http://jra.cr/en/ http://materialicious.com/2013/01/casa-l4-by-jaime-rouillon-arquitectura.html http://wvw.nacion.com/ambitos/2006/julio/22/nota1.html http://wvw.nacion.com/ln_ee/2006/mayo/04/aldea1.html http://www.nacion.com/ocio/artes/Casa-Guanacaste-prestigioso-premio-arquitectura_0_1156284367.html http://www.revistasucasa.com/articulo/portada/comedor-la-rouillon http://www.revistasucasa.com/contenido/articles/316/2/Arquitectura-Pragmatica/Paacuteginas2.html http://www.urbanislands.net/images/uploads/pdfs/Architecture_10_catalog.pdf http://us.archello.com/en/project/l4-house/1693493 https://vimeo.com/4147007 https://www.youtube.com/watch?v=ocDuO1OD9qw

Images: The potographers were named in the description of the project or the source of the images is mentioned below. All plans and sketches were found on the following websites: http://jra.cr/en/portafolio image 0,3, images of skycondos http://jra.cr/en/quien-es-jaime-rouillion images 2,4 http://www.archello.com/en/project/l4-house/1693493 image 1 www.archdaily.com images of Casaval

Or In this book:

‘Barahona Ortega, Luis Diego, Jaime Rouillon. Costa Rica, Costa Rica 2004’ Constantini museum, Corbett-Dallas house, Corbett house