Architects: S3 Schmidt Arquitectos
Location: Viña del Mar, Viña del Mar, Valparaíso Region, Chile
Project Architects: Nicolas Norero
Collaborators: Karen Pradenas, Lina Rojas, Cristián Maze, Constanza Larach, Paloma Sanchez
Associated Architects: Horacio Schmidt Cortes, Horacio Schmidt Radic, Martin Schmidt Radic
Project Area: 43000.0 m2
Project Year: 2013
Photographs: Aryeh Kornfeld
Chilean architects República Portátil have revealed their proposal for temporary multi-residential housing in Concepción, Chile. Responding to sites left vacant in the wake of the 2010 Chile Earthquake, the Vertical Student Housing project would accommodate students and members of the general public alike.
Driven by a desire to “promote interaction and relationships among strangers,” República Portátil frame the housing project as a counterpoint to “standardized real estate projects” which, in their view, encourage “social segregation of the city.”
Learn more about the project and view selected images after the break.
With almost half of the world’s wealth owned by 1% of the population, the spatial and physical effects of this inequality are becoming more pronounced in the world’s cities, and mitigating this polarization of society is an increasingly pressing issue. A new project led by the Royal Danish Academy of Fine Arts, in collaboration with Architects without Borders and Emergency Architecture & Human Rights.DK, is addressing this issue in Chile, with a development project proposal for Santiago’s largest unofficial settlement.
“Polarization of society is a global problem and this project presents a unique solution that could be applied in many places,” explains Borys Wrzeszcz, a Polish architect who started the project after returning from an exchange program in Chile. “The idea is to keep the entire existing urban structure, fulfilling the inhabitants basic needs by providing water, electricity and the possibility to build multistory structures – and to do all this in the cheapest way and be fully compatible with inhabitants’ wishes and without any damage to existing green spaces.”
Wrzeszcz is joined by Chilean architect Jorge Lobos and Katrine Lotz, the Institute Leader of the Department for Architecture, Urbanism & Societal Change at the Royal Danish Academy. Watch the short film above to learn more about the group’s “Polarization of Chilean Society Prevention Project.”
Chilean architects Archiplan and international office Architects of Invention have unveiled their concept design for a new public plaza in Santiago. Prepared as a competition entry, the proposal is a tribute to the late Chilean architect Fernando Castillo Velasco, sited in front of his iconic Tajamar Towers.
Entitled “Origami Highline,” the project draws inspiration from the ancient Japanese paper folding craft of origami and takes the form of a sculptural intervention in Balmaceda Park.
Architects: BBATS Consulting&Projects SLP (Silvia Barbera Correia, Jorge Batesteza Penna, Cristóbal Tirado Luchsinger), Murtinho+Raby Arquitectos (Pedro Murtinho Larraín, Santiago Raby Pinto)
Location: Maipú, Maipu, Santiago Metropolitan Region, Chile
Project Manager: Silvia Barbera, Jorge Batesteza
Partner In Charge: Cristóbal Tirado
Project Management: Silvia Barbera, Cristóbal Tirado, Santiago Raby
Area: 70.301 sqm
Photographs: Nico Saieh, Pablo Casals
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.
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.