2018

MCHAP

Gyroscopic House

Alejandro Halek Coll

Barquisimeto, Venezuela

April 2017

PRIMARY AUTHOR

Alejandro Haiek Coll

CONTRIBUTING AUTHOR

Henrique Berni (Architects ) Luis Castro (Architects ) Enrique Henríquez (Architects ) Fatima Ferreira (Architects ) Alexandra Montes (Architects ) Daniela Rodriguez (Intern ) Tharamaroa Troconis (Architects ) Irina Urriola (Architects ) UNIVER-CITY Residency Program (Control managment Team (Residence Stage)) Elizabeth Coll (LABPROFAB Control Managment Team ( final completion stage )) Belquis Briceño (LABPROFAB Control Managment Team ( final completion stage )) Cesar Cordero (Local Craftsman ) Eudys Rodriguez (Local Craftsman ) Jose Rendon (Local Craftsman ) Leomar Arrieche (Local Craftsman ) Marcos Marrufo (Local Craftsman )

AUTHOR

Gladys Ruiz

PHOTOGRAPHER

Irina Urriola Reynaldo Diaz Fatima Ferreira Enrique Berni Alejandro Haiek

OBJECTIVE

It’s the same house where things are still there. Old structure gets phagocytosed by the new one, readjusting it according to the forces and new transactions, new pattern of mobility and inhabiting. Time has been taken into consideration. The house isn’t delivered, it’s inhabited form the first day, directly experienced by its transformation, which in most cases is ferocious and overwhelming. The architecture arrives, supports and comes along with its immediate problematics. Activities are reorganized and articulated again on their same position, holding up direct relation with the site’s ecosystem. Every table, timber board, metal profile, and even nuts and bolts dismantled are been taken into consideration on a rigorous inventory about obsolescences. A conscious demolition exercise in contrast with a start over blank boards. The project works upon the idea of building a domestic landscape as a response of two main elements: a continuous surface to allow for the displacement through all the environments, the house service units, and the productive soil with flexible programmable units. The confrontation between the public and private atmosphere of the house doesn’t happen on the facade surface due it’s lower as a public square and into the courtyards which brings it into its own dimension of the public. The house announces the lack of discussion and technological innovation focused on the social living for reduced mobility people in slums and emergent settlements. It establish a critic on standardization of social interest housing and lack of attention into the specific of motor disability

CONTEXT

The accidental collapse of industrial materials with local handcrafted techniques drawn a timeless obsolescent landscape. The house operates transformational states until it reaches progressive levels of inhabitability, while freeze paralyze time as second hands objects changing functions avoid turning to be disposable. Everything that eventually where to become trash is now an available resource. The materials are assumed as replicant units, patterns of repetition and variable displacement parameters. The sizes are homologated avoiding possible waste on a approximation to the industry measures and scrap; each table is semi-processed by using as a cutting table; a circular saw adapted to a dunks table and improvised table legs (nothing new but always witty). The parameters are implicit: digital thinking and analog culture, hybrid matter. The deformation comes from the material, from a little instrumented process, or enough but with setting rigor. The assembling process is systematic even though it recognizes the error. Mixed operations between Handcrafted - Artisans and the Technic - Geometric. Knitted wall by striped plastic bands of chromatic pattern band. Preexistent re-used beams crossing with double curvature surfaces are accomplished by two systems, the first one: structured surface reusing the profiles from the house and the second: the zigzagging net on the other direction, modifying the color intensity on a striped pattern stripes. The chairs that were once buried on the back yard have been brought again on the circuit of operative objects. Chairs are knitted out of patchwork. Its materiality derives from the walls on an neurotic optimization of resources.

PERFORMANCE

The house is organized through an access ramp feeding 4 independent and sheltered programmatic units by a termic visitable shell. Sculpted on a delicate balance between the possible slope to introduce a normed ramp on a flat site with less of 25 mts large and high difference with the street of -2.10 mts. The ramp is the hallway of the house which connects the intimacy of a farming yard with a panoramic view of a public balcony: the suspended pending and the permeability of the skins allows the wind trespass and refreshing it. The ramp is an intermediate chamber, becoming a three dimensional fragment upon the hammocks, displaying Gladys plants and Luz Marina workouts (the users). The back door gets displaced to an axis different from its origin point (on left of the tank), reaching at the street establishing a new access protocol. The terrace is 1.60 meters above the level of its original position, the relation with the tree is now close to its foliage and not its trunk. The terrace is inserted on the tree top while trespassing the framed on its triangular structure. The house’s directionality vectors set the displacement trajectories and patterns. There’s a line of support accompanying all the mobility circuits meanwhile lines to be held on and go from a path to another. This allows Luz Marina (the user) fluidly derives by the house in aleatory routes; passing from interior to courtyards exterior realm.