With special thanks to my groupmates, Anna Maly and Bianca Woisetschl채ger, without them this would not have been possible.
INDEX
Stories of houses ..................................................................................................... 3 Video images ............................................................................................................ 9
Final decision: house in Corrubedo ............................................................... 11 Floor plans ............................................................................................................ 12 Section .................................................................................................................... 14
Parkinson disease .................................................................................................. 15 Interview ................................................................................................................ 16 Workshop .................................................................................................................. 19
Microarchitecture .................................................................................................. 21 Constructive details .......................................................................................... 23 Making off .............................................................................................................. 24 Final model ............................................................................................................... 25 Group project .......................................................................................................... 29 First approach ................................................................................................. 29 Final project ..................................................................................................... 32 Project .................................................................................................................... 35 Plans .................................................................................................................... 35 Section ................................................................................................................ 37 Final drawing ................................................................................................... 39
Manifesto ................................................................................................................... 41
Bibliography ............................................................................................................. 43
Small House for a Kolonihaven, by Enric Miralles There still continues an old tradition in Denmark of building minute houses, or allotments, in the market gardens at the outskirts of towns. These housing developments are called Kolonihaven and their sole function is to shelter their owners from the cold and rain when spending time close to nature. The new Kolonihaven near Copenhagen groups a diversity of small houses between cherry trees. They are works of fourteen renowned architects who where invited to build distinctive retreats with the only condition not to surpass 6 m2 of ground. The couple Miralles and Tagliabue generated their project from their interest in recording the passage of time. From that starting point, the architects explained, “the house becomes a calendar�. It is a place to feel time passing when looking at nature, while the parents talk around a table and the children play their games. Along with the drawings and models, the architects illustrated their explanations bringing a German almanac that shows the flowers of the different months of the year, with their timing of opening and closing each day: chicory in the mornings of February, water-lilies in those of June, marigolds during the days of September and opened carnations in all December.
The passage of time is also recorded while sketching the plan of the little house. Enric and Benedetta gave their small daughter a miniature chair and she started to play with it, taking her first steps with it and moving it. Like if trying to draw these movements on the floor, the parents generated the plan of the house. From its limits a timber framework was brought to life which forms the volumes which embraces, exactly like a dress, the movement of the girl with her chair and the adults sitting around the table. At this point in the design process, the architects brought an old drawing by the architect Le Corbusier where a girl asks an adult to play with her, inviting him to enter a house through a small door to the world at her size. The house in Kolonihaven varies in height. It has a very low ceiling in the children’s room but becomes higher by the sitting room for adults. Seen through its section, the house captures this passage of time - the house grows with the inhabitant, from being a child to become an adult.
The theme of this project for a tiny shelter lies in dealing with the passage of time, with life itself. Its function is precisely that, and nothing more. If the saying is true that an architect can be measured from his project for a single house, then in designing a small wooden house for a Kolonihaven one could measure the architect as a person. In such a project, the architect is commissioned to describe his vision of life, to see time pass by. Because of this reason, perhaps, Enric Miralles included his little daughter in the development of the house in Kolonihaven and acknowledged her as a collaborator, naming her in the list of the project team. It was a confusion of his private and professional lives, something that Enric had always done.
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4
Blas House in Sevilla la Nueva (Madrid), by Alberto Campo Baeza The first day that the client, Francisco de Blas, visited the architect he gave him a book of poetry from 1950 with the complete work of the Spanish poet Luis Cernuda (1902- 1963) who had been a member of the group of poets, Generation 27, with Federico GarcĂa Lorca among others. Cernuda’s poetry was dense with intense emotions, describing sensitivity and love, pain and solitary, and the contrasts between the realisation of his personal desires (the wish) and the limits imposed by the world around him (reality). His most famous poem Donde habite el olvido (1932-33) describes a world where one forgets all one’s problems and in that way manages to achieve the freedom that one longs so much. This was the reading material that the professor of literature transmitted to his architect. It seemed as if Francisco de Blas wanted something more than a house, that he wanted place where emotions and reflections were part of the building material. For Campo Baeza, this was a welcoming challenge. In fact, he intended his architecture to speak poetry and in order to transmit that to his architectural students he started every lecture for his classes at the University with an opening of the poem, Auguries of Innocence by William Blake: To see a World in a grain of sand. And a Heaven in a Wild Flower, Hold Infinity in the Palm of your hand. And Eternity in an Hour.
With these provisions, Campo Baeza went to visit the site with the client. It was to the southwest of Madrid with a wonderful view to the north towards the mountains and 3000 squares metres with a difference of 15 metres in height from bottom to the top. Despite that the client thought it very uncomfortable, the architect realised immediately that the place was perfect for the brief that the client had given him. Being so high, the surrounding houses would disappear and would leave the horizontal landscape in the distance to be enjoyed. Studying the slope, Campo Baeza decided to make a platform for the house to sit on and to divide the house into two conceptual elements: a solid concrete box sitting firmly on the ground emphasising its sense of gravity and another transparent glass box placed on the concrete box with a light and simple steel structure that almost disappears into the landscape. The perfectly carved out box contrasts with the structural qualities of the second, the viewpoint situated at the highest point of the house. They are two opposing states or qualities of how light transmit through the material; one completely opaque and the other completely open. Inside the concrete box is the programme of the house dividing the spaces so as the living areas have a view of the framed landscape through square gaps that open out to the horizon. The effect is as if the landscape is far away from our reach in the distance. The opposite is felt in the totally transparent box on its roof where one is literally absorbed by the power of the surroundings. It is here that the inhabitant can loose all sense for the time, to listen to the sounds of the ambience, of the silence, of the music of the landscape. No two people listen to the silence in the same way. In fact, people are generally not educated in listening to the silence. In de Blas house one finds peace within oneself and gains freedom. The experience is deeply personal, based on reflections; forgetting and remembering and relating oneself with the environment. Francisco de Blas and Alberto Campo Baeza have made a house where its poetry helps to build another more subjective poetry of the one who perceives the place. 5
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House in Corrubedo (Galicia), by David Chipperfield
Both Chipperfield and his Argentinean wife Evelyn Stern had long been attracted by Spain. Corrubedo, with only 726 inhabitants attracted thousands of visitors every summer who savoured its fresh seafood, fished sea-bass and bream and enjoyed its national park with a huge mobile dune of extremely fine sand. Looking for a site for sale, the couple at last found one, like a gash in the main street and only a few metres from the sea. Although this first line of houses that was built in the 60’s had the possibility to open up towards the sea and the other side towards the urban life of the main street, due to the forces inherent in the sea the houses demonstrated a typology which displayed a preference for the city. All of them open their windows and balconies towards the street, however, they felt the need to protect themselves from the sea and thus reduced the openings to mere vents. Having his own family as the client, Chipperfield enjoyed an exceptional freedom. Yet, for him, much freedom impelled him to redefine the working rules: What was to be interpreted? Rather than being concerned with a style or a shape, it was more relevant to think about the architecture from the inside of the house. That is, to reflect on the human condition and personal relationships that determine architecture, the connection between the inhabitant and the experience of the building. From the beginning, as with all his design work, Chipperfield therefore focused on creating spaces which situated the individual in relation to simple domestic rituals – having breakfast, reading a book, cooking and contemplating the sea. The architecture would become a setting without attracting attention, yet its presence should be felt.
The sea became the central element for interpretation; its power and attraction should be enjoyed to the utmost during the family’s vacation. Consequently, and to the contrary to its neighbouring houses, the interior spaces of the dwelling must focus towards the bay and the harbour, protecting its privacy from the main street with a practically closed facade. The house is elevated in four levels. A few metres from the beach, a ramp leads from the rocks directly to the children’s bedroom, rooms that resemble ship cabins. Above this floor is the living room, located such that a glass wall affords views out across the sea. On the floor above are more bedrooms and on the top is a terrace which, protected by the study, protrudes towards the Atlantic ocean like it covets the very essence of the sea. Any enclosure which might obstruct the vision is dissolved on the roof terrace where the family prepares a barbeque as if on a deck of a boat. The memory of the village lies in the life around the ocean. In this setting, it is the sea which is the element that comprises the link between the past and living in the present. This powerful natural force also determines the exterior of the house, the selection of materials and the layout of the interior spaces. The solidity of the stone, which forms the base of the house, is reinforced by the weightless glass on the next floor, a sense of lightness which becomes more intense until making the house evaporate on the roof terrace. Further responding to the sea, the house by Chipperfield manages to integrate itself with the same neighbouring buildings that had protected themselves from it. The house maintains harmony with the heights, materials and colours of these houses in the main street but instead of repeating their geometrical forms, it incorporates them through irregular lines which respond to the ever changing surface of the water and which accompany the skyline of Corrubedo’s front. It is a project which is born from incorporating the reflection of the visitor, the architect and his family in showing the attitude of being “a part of and yet apart from” their environment. For Chipperfield it was not a matter of inventing new forms but forming a dialogue between the place and the newcomers. 7
8
Video images
9
10
Final decision: House in Corrubedo
We finally decided to work with this house due to its localization, and most of all, due to the story behind. As we can read in the introduction, the house was built by David Chipperfield, that also designed the house for his own use, a place to stay at holidays. As explained at the oficial website of the architect:
This house occupies a gap in the main street of the small Galician fishing village Corrubedo. Sitting at the northern edge of a large protected bay on Spain’s north-west Atlantic coast, the site offers dramatic views out over the harbour and to the sea beyond. All the buildings along the harbour have frontages facing the village rather than the sea. Complicit with the vernacular setting on the one hand but on the other looking to fully exploit the views afforded by its location, all of the house’s internal spaces are oriented towards the ocean. From the sea, an assorted collection of buildings on the waterfront forms a continuous village elevation – a thin ribbon that although made up of individual houses of varying heights and geometries, still presents itself as a unified and coherent arrangement. The introduction of a new house with markedly different priorities had to take into consideration its place within this continuous wall. Wedged into the ribbon of buildings and rising four storeys above the beach, the house is composed of a series of interlocking simple white volumes that seem to hover above a sturdy sand-coloured concrete base. As with the neighbouring houses, small windows puncture its upper mass. Serving as a shelf between the base and the upper mass, a large panoramic window extending the full width of the house provides sweeping views across the beach, harbour and the ocean beyond. The composition of the house’s design was influenced by the contrasting geometries of its immediate neighbours. This is most apparent on the street side of the building where the cantilevering volumes of the adjacent houses are actively extended into the composition but avoid collision by leaving a clear space between them. Internally this concept extends to the stairs, bedrooms and living spaces, which flow up to the top of the house, mixing indoor and outdoor spaces expressed as an interplay between solid and void. On the floor below street level is a series of cabin-like bedrooms that open onto a ramp which provides direct access to the beach. The kitchen and living area are combined into a single space that spreads over the entire first floor, enjoying the full-width window and serving as the main gathering place for guests and residents. Two further bedrooms are located on the second floor and a loggia set into the façade provides a generous viewing platform towards the sea. At the top of the house, on the third floor, are a study space and an enclosed rooftop terrace that provides a sheltered retreat. While the house’s silhouette, angular composition, white walls and play with shadows make it distinct from its immediate environment, the building sits in line with the harbour front and completes the larger composition of the strip facing the Atlantic. http://www.davidchipperfield.co.uk/project/private_house_in_corrubedo
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Ground floor
First floor
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Second floor
Third floor
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Section
14
This is just one example of a patient of Parkinson. We all known the symptoms like shaking, rigidity, slowness of movement and difficulty with walking and gait, but we don’t know how this really effect on our life.
Parkinson is a degenerative disorder of the central nervous system mainly affecting the motor system. The motor symptoms of Parkinson’s disease result from the death of dopamine-generating cells in the substantia nigra, a region of the midbrain. The causes of this cell death are poorly understood. Although some atypical cases have a genetic origin, while secondary Parkinsonism is due to known causes like toxins. Many risks and protective factors have been investigated: the clearest evidence is for an increased risk of PD in people exposed to certain pesticides and a reduced risk in tobacco smokers. There is no cure for Parkinson but there are some treatments: typically the medications L-DOPA and dopamine agonists, improve the early symptoms of the disease. As the disease progresses and dopaminergic neurons continue to be lost, these drugs eventually become ineffective at treating the symptoms and at the same time produce a complication marked by involuntary writhing movements. Diet and some forms of rehabilitation have shown some effectiveness at improving symptoms. Surgery and deep brain stimulation have been used to reduce motor symptoms as a last resort in severe cases where drugs are ineffective.
New story
It all started with a little jitter in his left hand. At the first moment he thought that it was only because he was so exhausted and tired, but he could not sleep, not yet because the procect has to be ready tomorrow. Just a few hours more and it is finally over. Sleepless nights, a problem every Architect has to deal with. This was before 6 years. The shaking never went away and it is getting worse and worse every day. There were moments he couldn´t hold his pen anymore. But he would not admit it that there was somthing wrong with him. He could hide it from his wife and his children for a long time untill the moment he felt down the stairs. It was his son who convinced him to see a doctor. After many exhausting hours full of test and waiting, the family got the prognose from the doctor: Parkinson. His world broke down. The great David Chipperfield has parkinson, how was that possible, how should he work with this illness and the most important question how should his family live with it. The hardest part for him was to admit that he needs help. Help with normal trivial things like drinking or puting clothes on. He gave up his work, because he was ashamed to stand infront of his clients and could not draw anything. Drawing, one oft the most important thing in his life. How should he express himself, his ideas of the buildings without drawing. At this moment he had not much joy in his life. His family decided to change many things to make his life better again. They have a beautiful house in a small fishing village in Spain in which he always felt happy and free. So they moved there to see a smile again in his face. There he is living now and he started to handle with his illnes. It was a hard way untill he accepted the fact that he will never be healthy again. He didn´t feel sorry for himself anymore and started to enjoy life again. There are new things that are important in his life, not the mony and the fame anymore, it is the small things that make him happy. He can see his grand child growing up and can play with it because his daughter decided to live with her husband in the family house to help her parents. The smallest son of the family started to study medicine to research more about Parkinson and maybe to help his father one day. 15
Interview Marianne Sloop was diagnosed Parkinson 8 years ago, at the age of 46.
What where the first signals of the disease? “I had a weird walk and I always held my left arm a bit strange when tooth brushing. They told me later that that where the first signals. After the birth of my youngest daughter I still had difficulty to walk, I couldn’t find my rhythm anymore. Physiotherapy didn’t help, I get in a postnatal depression. At that time I was a secretary. I am a perfectionist, but the combination about work, two children and physical problems I couldn’t stand. I constantly made myself nervous about everything that I still had to do. I get in the sick leave and did everything to recover, special hormone pills, haptonomy… After about a year, the worst and most violence tiredness depressive moods were gone. I continued walking strangely and had balance problems. The doctor referred me to a neurologist, who finally diagnosed Parkinson’s disease. For the neurologist it was a fact and I felt almost non sympathize. I looked for a new doctor. When they couldn’t help me anymore, I was redirected to Dr. Boon of the Erasmus MC. An expert in her field and very involved. She searched the most ideal medicines for me, depending on my situation. Until now, I still have off-periods between taking my medication, this means about four off-periods per day. They are much shorter than in the beginning of my illness but they stay intense.” How does an off-period feel? What happens? “You feel yourself getting down. You become more and more tired and everything you do requires more energy. The coordination of my hands get less: I do have the strength, but the control is missing. As I lay something somewhere, I get stuck. I can not move and have to wiggle to get loose. If I am waiting in the supermarket, I can just fell down in an off-situation. After a while, you can decide about or timing your off-periods. Through you don’t have quite all the control, at other times it can just happen, specially under stress. In that situation, I can not do anything else than wait for the drugs to do their work again. Without medicine I really can’t walk a meter. My legs do not listen because they receive don’t or unclear signals of my brains. I do not know which which leg to begin and I fall over. I don’t have yet night medication, so I get crawling to the toilet.” What does Parkinson emotionally with you? “A lot. But not only with me, even with my family. I talk a lot less clear, and when I ‘m off, even worse. That puts enormous pressure on the family. We hardly make calls. I have plenty of things I want to say, but I can’t get out of my words. Never mind, I think soon. “What do you say?” Is our most used phrase. I became a lot more emotional. I can really cry about everything, and get upset when the children have grief or misfortune. I am also very uncertain. I’ve always been skeptic, but now I doubt even if I have made a decision. If there must be something done within a certain period of off time, I get stressful and therefore more affected by Parkinson. And I’m ashamed when I throw something at a birthday or I fall down when standing up. At home I first have to ‘ bounce ‘ three times to manage to get up. I absolutely do not want to stand out in such a way.
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At a birthday party, I am very quiet. When I talk, nobody can understand me well, because it is so unclear and fast. And in such a crowded space ... People hooks at some point down. Recently I was at a reunion of my work. I saw all former colleagues with whom I wanted to talk, but due to the tension there came not a sensible word out. I just wanted to cry. At such a moment I feel very lonely. “ How do you handle this situations? For others, I try to keep good as much as possible. One of my friends has the disease too, with quite different symptoms. But not all of my friends do know how it really is to have Parkinsonism. Since January I have a levadopa - pump; therefore you are within ten minutes back ‘on ‘. However, this does not always work. Once your body just don’t want to listen anymore. I ‘m just two Marianns . A good and an ill one. In off- periods, I am sad and angry. I realize that I make it more difficult with this to myself, but I find it hard to accept that I can not do what I want. As a mother, I feel guilty. For example if I, again, can not come to say goodbye to the children for a school trip or in sports I can’t come and watch. Also my spontaneity fades. I respond instance not so keen on good news. This is due to the disease, but also because of the drugs and their side effects. This also changes the relationship with my husband, from buddy to caregiver. Fred is very sober and do whether it will all work out. I think that’s his way to process it and give it a place. The children also experience it in their own way. They are both busy and hot-tempered and have regularly quarrel. They are now at an age when they more go their own way, but they are also forced myself to take things. If I have to go to the doctor, there are through the school of Laura - always dear mothers ready to catch her, very fine. I think about the future so less as possible. Parkinson’s is a progressive disease; when I see how I was there a year ago, compared to now, I’m not really happy. In my idea I really get worse quickly. I am a very big supporter of euthanasia, because life must of course remain a little fun. “ Thank you for this interview. “I really hope that my story is helpful. I want to let people to know what Parkinson’s disease means for the patient and family. That you will not be considered if you goof at the greengrocer barely “two boxes of strawberries ‘. You do not get surprised looks when you drive one day on a scooter and the next day just passes walking through the village. Parkinson gives you two faces - it’s no different. “
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Workshop
HOUSE3K is a workshop to explore concepts applicable to the production, operation, use and evolution of human habitats into the future. The ecology of home is being systematically reconsidered at this point in history within a framework of sociological, technological and scientific discourse that is generating new expectations about our relationships with each other, our political and economic systems and the environment at a variety of scales. The workshop is an ambitious and fast paced opportunity to conceptualise `home` in a way that may be applicable to the next millennium of human history on planet earth – our home in space. The residence as an archetype or laboratory/testing ground has historically generated visions of the future. Does the residence as a building type still hold a similar position in the development of civilization? Through this workshop we aim to envision the evolution of the ‘house’ through the depth of time (a thousand years from now).
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This might take the form of a time line that is assembled by all groups working on different themes ( lifestyles, construction methods, key historical events relating to technologies, societies, scientific understanding, critical models from history etc). There are essentially two outputs‌ - The timeline of `a thousand years of home` (the rear view mirror section ) - The timeline of a thousand years forward; the proposition, the conceptual axis for projecting the “homeâ€? into the future; concepts for living systems with a future
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Microarchitecture
To start with the microarchitecture we found a blog of a woman with Parkinson disease, what surprised us was the way she was handelling Parkinson. In stead of be worried, she take it with hummor. So we find a entrance where she asked her friends to tell her the good things of having Parkinson. So we find out how great some people take their disease, they can laugh about it because the accept it. Some examples are: - I don’t even notice when the batteries die in the electric toothbrush, because I shake so much. - I get new dishes every few months because I break so many of them. - I got all new shirts with snaps instead of buttons. - I get a parking permit. - They send me to watch football with the guys on Thanksgiving instead of helping in the kitchen. - I have a great excuse to not shave my legs anymore. - I don’t need a blender to make a margarita, I shake enough on my own. - I never get asked to pour the wine or champagne or even the iced tea at dinner. - No one will open the can of beer or cola I just got from the refrigerator. - I don’t get asked to change diapers or feed babies. - Velcro shoes. - The young kids want to learn how I do “The Shake” dance. With this information we made some drawings in order to understand it better.
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After this we understand that having that self awardness is a great attribute for everyone, and remind us that having a disease is not as bad as it looks. In our opinion, everyone shuold be able to laugh about hissef and with this clear we started to think about our microarchitecture. We made a list about how we can achive self awardness: guided meditation, getting out of your comfortable zone, concentrete on yourself everyday, put yourself in a quiet surrounding and saying to yourself in the mirror that you are wonderfull. Finally the microarchitecture should be something that helps us to get that self awardness and accept ourself just how we are.
We wanted to build something that helpes to laugh about yourself, to accomplish this we need to know ourself with all the mistakes and without hiding our true face. We create a helmet with mirrors in the inside, some of them shoy you normal and some shows you bigger than real, they also are in different angles, which shows the real you? We use light wood for making small triangles, to create different angels. The final result is a kind of dome which you can put on anytime you prefer.
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Constructive details
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Making off
CLICK TO SEE THE VIDEO
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Final model
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Group project
After the mircoarchitecture we started to work with the house. As we wanted to go one with the idea of the microarchitecture, the problem was how we could apply it to the house. After some thinking we start making drawings and a aproach to the final project.
First approach
My teammate Anna started redisign the facade of the house. Following the structure of the microarchitecture, she applied it like a cover of the house.
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The intension of Bianca was to completley open the house in Corrubedo with the help of a glass facade. The house should not be a place were you can´t hide yourself even if you have a bad day. You can see everything what is happening around you and everybody can see you. To feel comfortable in your own house you must to learn to love yourself with all of your mistakes and negative characteristics. You need to be self-conscious. Living in this house you will learn a lot about yourself and start to learn laughing about yourself. The glass surfaces will start to blur the boundery between the exterior and interior - the inside become one with the outside. Also my idea is to put “windows” on the floor and seelings so there is the posibility to comunicate and interact not only with the exterior and interior but also within the house.
After rethink the first approach, Bianca changed the project and started to work with the room but applying more like the microarchitecture and considering the facade project of Anna.
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I wanted to work with the staircase, because in my opinion it is the centre of the house, a part that is used everyday if you like it or not. Also for a Parkinson patient, a staircase is a everyday struggle, depending on how you feel that day. First I applied the microarchitecture. I use mirror triangles on the wall in order to confront yourself, you have to look at yourself while going up or down. As in the microarchitecture, the mirrors are placed in diferent angels, not only to see yourself in other ways but also to project the passage of time. So as we can see at the image, at the beginning, the triangles are small but as going up, they get bigger. With this I wanted to project that when we are young, we just start to know ourselfes, but while growing up, we see everything clearier and we know exactly how we are.
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Final project
The final poject of Anna shows the result of transposing an action of the house by using the thoughts of the microarchitecture. The facade is consisting of the same design as already seen by the model but changed to help the Parkinson patient. You have a transition in three steps. The first one, shows the lookout that´s quite important for have a good look at the sea and to enjoy the view and rest out for a while. The next step is to get closer to yourself by walking a few steps and watch out of small pieces of reflecting glass. However, it is still glass so you can see some reflecting parts of yourself but still recognize the view of the outside. In the third step you are reaching your destintation by seeing yourself in the mirror. In this part the wall looks closed from the outside but it is the key from the inside with big clear mirrors reflecting yourself.
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The final poject of Bianca is how the facade and staircase come togheter. As you can see at the picture, the new staircase overrun the living room and the original studio. With this problem, Bianca looked for a new way to join each project in a perfect way.
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Project
0,30 m
After the first aproach to my project, I wanted to involucrate the stairs with the walls. So considering the idea behind the wall, the stairs grow also. The lowest are the smallest representing the delicacy of when we are young, and getting more and more robust with the time as going up.
0,78 m
Lowest step
0,04 m
Highest step 0,14 m
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New staircase plans
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Staircase section
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Manifesto
This course of projects 4 has been one of the best experiences I’ve had in my studies so far. We have not only given class, but we have had the opportunity to travel to the selected houses, we have met the architects and we have learned a lot from each of them. Although we only work with one house per group, I found it very interesting to see some of them in person. The essence behind each house named in the blog stories of houses, by Javier Merina, excites me and is unique. I was delighted to see how they are immensely related to the client, as the architect has interpreted perfectly what they needed. The fact of working with a disease, which in my case I see it more as a difference from the “normal”, have helped me to accept me as I am. To enjoy a little more each moment and let everything go. It inspires me to see that these people have learned to live with it, as if it were part of their body forever. They do not see it as something that stop them doing what they want, but they got more strength than others to do it. It is admirable and I think we can learn a lot from them. I think we all have a “disease”, whether small or large, that differentiates us from others.
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For the course work, at first we had a hard time, but hey, when didn´t it cost us to start with design? I was fortunate to be in a good group, we have been able to learn from each other and we have always support us when need with some unusual ideas. We have not always agreed, but with a bit of discussion we have assessed all ideas and we could draw very good conclusions. The project is not only mine, it’s from our three, but the last part was “individual”, this would not have been possible without their help.
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BIBLIOGRAPHY
http://storiesofhouses.blogspot.com.es/
http://www.davidchipperfield.co.uk/project/private_house_in_corrubedo https://es.wikiarquitectura.com/index.php/Casa_en_Corrubedo
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INDEX
Stories of houses ..................................................................................................... 3 Video images ............................................................................................................ 9
Final decision: house in Corrubedo ................................................................ 11 Floor plans ........................................................................................................... 12 Section ................................................................................................................... 14 Parkinson disease .................................................................................................. 15 Interview .............................................................................................................. 16
Workshop ................................................................................................................... 19 Microarchitecture ................................................................................................... 21 Constructive details ......................................................................................... 23 Making off ............................................................................................................ 24
Final model ................................................................................................................ 25 Group project ........................................................................................................... 29 First approach .............................................................................................. 29 Final project .................................................................................................. 32 Project ................................................................................................................... 35 Plans ................................................................................................................. 35 Section ............................................................................................................. 37 Final drawing ................................................................................................ 39
Manifesto .................................................................................................................... 41 Bibliography ............................................................................................................. 43