Chile may soon be home to the only Antoni Gaudí-designed building located outside of Spain. At a recent press conference, Chilean President Michelle Bachelet confirmed government funding for the construction of the Gaudí Cultural and Spiritual Center in the city of Rancagua, which will include a chapel designed by the Catalán architect.
The project originated in 1922 through a series of letters exchanged between Gaudí and Chilean Franciscan Friar Angélico Aranda, who asked Gaudí to design a chapel for Chile. “I wish to implement an original work, very original, and I thought of you,” wrote Aranda to Gaudí, who by then was immersed in constructing his masterpiece, La Sagrada Familia. Since 1996, Chile’s Corporación Gaudí de Triana has been working to make the design resulting from this conversation a reality.
Learn more about this project after the break.
We all know that in architecture, few things are truly original. Architects take inspiration from all around them, often taking ideas from the designs of others to reinterpret them in their own work. However, it’s more rare that a single architectural element can be borrowed to define the style of an entire region. As uncovered in this article, originally published by Curbed as “Le Corbusier’s Forgotten Design: SoCal’s Iconic Butterfly Roof,” this is exactly what happened to Le Corbusier, who – despite only completing one building in the US - still had a significant impact on the appearance of the West Coast.
Atop thousands of homes in the warm western regions of the United States are roofs that turn the traditional housetop silhouette on its head. Two panels meet in the middle of the roofline and slope upward and outward, like butterfly wings in mid-flap. This similarity gave the “butterfly roof” its name, and it is a distinct feature of post-war American residential and commercial architecture. In Hawaii, Southern California, and other sun-drenched places, the butterfly roofs made way for high windows that let in natural light. Homes topped with butterfly roofs seemed larger and more inviting.
Credit for the butterfly roof design often goes to architect William Krisel. He began building single-family homes with butterfly rooflines for the Alexander Construction Company, a father-son development team, in Palm Springs, California, in 1957. The Alexander Construction Company, mostly using Krisel’s designs, built over 2,500 tract homes in the desert. These homes, and their roofs, shaped the desert community, and soon other architects and developers began building them, too—the popularity of Krisel’s Palm Springs work led to commissions building over 30,000 homes in the Southland from San Diego to the San Fernando Valley.
Architects: Hariri Pontarini Architects
Architect In Charge: Siamak Hariri – Hariri Pontarini Architects
Local Architect: BL Arquitectos
Client: National Spiritual Assembly of the Bahá’ís of Chile, National Spiritual Assembly of the Bahá’ís of Canada
General Contractor: Desarrollo y Construcción del Templo Bahá’í para Sudamérica Ltda.
Area: 1200.0 sqm
Photographs: Courtesy of Bahá’í Temple of South America
Nearly four years after the start of its construction, South America’s first Bahá’í temple is beginning to take shape. Designed by Canadian firm Hariri Pontarini Architects, the temple is being constructed at the foothills of the Andes in Santiago, Chile. The building is comprised of “nine translucent wings, rising directly from the ground, and giving the impression of floating over a large reflecting water pool,” describes the project’s website. Each wing is designed like a leaf, with a steel “main stem” and “secondary veins of steel” supporting its cast glass exterior. During the day, the cast glass will filter sunlight into the temple, while at night the temple’s interior lighting will produce a soft glow on the outside.
The structure’s steel columns are now fully self-supported on its concrete foundation, and the steel frames and interior marble panels of each of the nine wings have been completed. In October, the project reached an important milestone as the installation of the cast glass cladding began on the outside of the wings.
Architects: Eduardo Guzmán Rivera + Juan Carlos Muñoz Del Sante
Location: Araucanía Region, Chile
Area: 250.0 sqm
Photographs: Cristian Muñoz Del Sante
Fundamentals, the title of the 2014 Venice Biennale, will close its doors in a matter of days (on the 23rd November). From the moment Rem Koolhaas revealed the title for this year’s Biennale in January 2013, asking national curators to respond directly to the theme of ‘Absorbing Modernity 1914-2014’, there was an inkling that this Biennale would be in some way special. Having rejected offers to direct the Biennale in the past, the fact that Koolhaas chose to act not only as curator but also thematic co-ordinator of the complete international effort, was significant. This announcement led Peter Eisenman (one of Koolhaas’ earliest tutors and advocates) to state in one interview that “[Rem is] stating his end: the end of [his] career, the end of [his] hegemony, the end of [his] mythology, the end of everything, the end of architecture.”