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Single Family Housing
Single Family Housing
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Single Family Housing
Type
The
needs created by a society of luxury and affluence evoke subterfuge ever
before seen in the life of the masses. Increasingly,
children leave their homes later, and as the money comes into the
home by a certain stability in the world economy, the money comes out
the way that this vacuum caused by the emptiness of conformism. The Society of megalomania, where everyone has
to own their piece of land obscures the vision of a equal future.The house does not answer those questions,
but it embraces them as a new social experience. As a human being
deals with the much desired peace? How independent
we are or want to afford to be? The configuration of the house makes this
very explicit, causing the fourth act as micro-dwellings, in contrast to
the spacious rooms that force the family interaction. The living room,
kitchen, dining room face the inner courtyard of the house, just
representing this reflection of privacy. The corridor that
separates the public from the private glass is full, not only allowing
light to enter the rooms through their individual false facades, but
also an air of abundance and solar lighting, which washes and purifies
the user during this transition.The formal processes of an architecture
somewhat optimistic or naive, must come from an exhaustive process of
creation, selection and development of proposals for greater
adaptability of the project to survive. Never a vanguard
should (but usually is) a denial of the motion earlier. Not revolution but evolution egocentric humble.One of the
parameters of this proposal would be to attend an urban setting that
would generate the meeting and opportunity. The corners were
released to a culture of congestion and meeting in a city still favored
by the human scale. The small square is developed as an extension of the
houses and invites everyone to enjoy it. A fair, a
playground, a soccer field bring different genders and ages for the
meeting.Here we talk
about volume rather than aesthetic beauty or the fact that beauty is
relative, as the twentieth century broke with the Vitruvian trilogy
because architecture can not remain insensitive to industrialization and
radical questioning of institutions (be they family, the state or the
church) at the turn of the century. The first term of the triad - attractive
appearance (beauty) - vocabulary gradually disappeared as the structural
linguistics took over the formal discourse of the architect. But at first
seized architectural semiotics of speech codes peculiar to the literary
texts to apply them to the architectural or urban spaces, thus
inevitably remain descriptive. Robert venturi also demonstrates the
harbinger of what will be the loss of the concept of beauty, and Umberto
Eco shows us that although there is always the concept of beauty is
very changeable, depending not only a universal order but an entire
campus context and pointing out that a breakdown of linearity of the
concept of beauty. This project seeks to explore not a supposed beauty,
but, architectural languages that dialogue with a "will" inherent in any
project, bringing solutions, not problems.
needs created by a society of luxury and affluence evoke subterfuge ever
before seen in the life of the masses. Increasingly,
children leave their homes later, and as the money comes into the
home by a certain stability in the world economy, the money comes out
the way that this vacuum caused by the emptiness of conformism. The Society of megalomania, where everyone has
to own their piece of land obscures the vision of a equal future.The house does not answer those questions,
but it embraces them as a new social experience. As a human being
deals with the much desired peace? How independent
we are or want to afford to be? The configuration of the house makes this
very explicit, causing the fourth act as micro-dwellings, in contrast to
the spacious rooms that force the family interaction. The living room,
kitchen, dining room face the inner courtyard of the house, just
representing this reflection of privacy. The corridor that
separates the public from the private glass is full, not only allowing
light to enter the rooms through their individual false facades, but
also an air of abundance and solar lighting, which washes and purifies
the user during this transition.The formal processes of an architecture
somewhat optimistic or naive, must come from an exhaustive process of
creation, selection and development of proposals for greater
adaptability of the project to survive. Never a vanguard
should (but usually is) a denial of the motion earlier. Not revolution but evolution egocentric humble.One of the
parameters of this proposal would be to attend an urban setting that
would generate the meeting and opportunity. The corners were
released to a culture of congestion and meeting in a city still favored
by the human scale. The small square is developed as an extension of the
houses and invites everyone to enjoy it. A fair, a
playground, a soccer field bring different genders and ages for the
meeting.Here we talk
about volume rather than aesthetic beauty or the fact that beauty is
relative, as the twentieth century broke with the Vitruvian trilogy
because architecture can not remain insensitive to industrialization and
radical questioning of institutions (be they family, the state or the
church) at the turn of the century. The first term of the triad - attractive
appearance (beauty) - vocabulary gradually disappeared as the structural
linguistics took over the formal discourse of the architect. But at first
seized architectural semiotics of speech codes peculiar to the literary
texts to apply them to the architectural or urban spaces, thus
inevitably remain descriptive. Robert venturi also demonstrates the
harbinger of what will be the loss of the concept of beauty, and Umberto
Eco shows us that although there is always the concept of beauty is
very changeable, depending not only a universal order but an entire
campus context and pointing out that a breakdown of linearity of the
concept of beauty. This project seeks to explore not a supposed beauty,
but, architectural languages that dialogue with a "will" inherent in any
project, bringing solutions, not problems.
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