{"id":185,"date":"2024-11-28T12:35:47","date_gmt":"2024-11-28T12:35:47","guid":{"rendered":"https:\/\/estudioqo.ar\/?page_id=185"},"modified":"2025-08-28T17:00:32","modified_gmt":"2025-08-28T17:00:32","slug":"recortes-de-un-recuerdo","status":"publish","type":"page","link":"https:\/\/estudioqo.ar\/eng\/recortes-de-un-recuerdo\/","title":{"rendered":"RECORTES DE UN RECUERDO"},"content":{"rendered":"

Built project, 2023 \/ Funes, Santa Fe, Argentina<\/p>\n\n\n\n

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\u201cRecortes de un recuerdo\u201d (Fragments of a memory) comprises the renovation and expansion of a weekend house in Funes, Santa Fe, Argentina. In order to meet the technical and programmatic requirements of the project, resources linked to the clients\u2019 family homes were used. Our primary goal was to achieve a convergence of their particular tastes; hence we resorted to their history as an additional resource in the project. These ideas, which appear as cut-out memories of the houses where they lived and grew up (their spaces, facades, colors or finishes), are transferred as intentions about what their own house should be like.<\/p>\n\n\n\n

La propuesta se configura a partir de tres operaciones . En primer lugar, la vivienda original se abre al patio, ampliando una abertura existente e incorporando una nueva. En segundo lugar, se conforma una cubierta que acomoda una galer\u00eda y una ampliaci\u00f3n destinada a m\u00faltiples usos. En tercer lugar, se recubre la totalidad de la obra con una piel que intercala ladrillo visto y revoque, unificando la casa original y su ampliaci\u00f3n. <\/p>\n\n\n\n

Complementario a este abordaje program\u00e1tico, dos operaciones materiales articulan la intervenci\u00f3n: la que concierne a los muros y la que define la columna de la galer\u00eda.<\/p>\n<\/div><\/div>\n\n\n\n

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The first of these, a textile-like wrapping of the entire structure, serves to integrate the various volumes of the house\u2014amalgamating the pre-existing with the new additions. Simultaneously, this operation addresses the technical deficiencies of the original house\u2019s interior. The material composition of this \"garment\" echoes a domestic sensibility\u2014both in reference to vernacular peripheral housing and to the childhood homes of the clients.<\/p>\n\n\n\n

This brick skin wraps the entire fa\u00e7ade, varying primarily in height. Two main finishes\u2014exposed brick and white-painted plaster\u2014are distributed across the outer envelope according to technical and functional criteria. The initial gesture is the duplication of the masonry mass to improve thermal insulation. Then, a series of elements disrupts this homogeneity: a bench, an opening, a roof, a lintel. Each of these intervenes in the skin, and the skin responds to their needs. The final arrangement follows a logic not immediately apparent, allowing the resulting configuration to transcend mere function.<\/p>\n<\/div>

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Section details - variations on the wall<\/figcaption><\/figure>\n\n\n\n
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East-side view<\/figcaption><\/figure>\n\n\n\n
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A band against the party wall\u2014suggested by the original house layout\u2014extends outward to define a structural spine. This element is the backbone of the proposal\u2019s organization, serving all spaces. Its thickness allows it to take on different uses depending on the area: it becomes a bench, a storage space, a kitchen counter, a laundry station, a spaces for appliances, or a recess for the air conditioner.<\/p>\n<\/div><\/div>\n\n\n\n

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The operation that defines the column on the gallery is a material experiment and is framed within a broader disciplinary reflection:<\/p>\n\n\n\n

1. One of the recurring themes in our history is the desire to master matter and manipulate it at will. Countless efforts have aimed to conquer the alchemy that transforms raw nature into a refined resource, tool, or product. Now, with artificiality permeating every aspect of daily life, we witness a kind of regression\u2014another in a series of strategic retreats. It seems more seductive to relinquish control once again to matter and its not-quite-predictable behavior. Perhaps it's a way to wash away guilt. Perhaps it\u2019s simply a chance to avoid overdesign. Or perhaps it stems from the idea that our future will look a lot like our past. In any case, in this context, we were drawn to the opportunity to circumvent generic solutions through the use of a material before it has been industrialized. This required understanding its logic and putting it into action through a rational procedure. The unpredictable and surprising form that emerged is the gift offered by any authentic experiment.<\/em><\/p>\n\n\n\n

2. <\/strong>The column is the result of a process. Its origin lies in the desire to incorporate into the renovation the memory of what had to be removed to make it possible\u2014a pre-existing tree. The Latin prefix in- (into) and the root corpus (body) indicate the action of inserting one thing into another and forming a single body. The etymology suggests a paranoid-critical procedure, one in which technical rationality is placed at the service of this desire. The act of cutting the trunk into four (a Cartesian operation) represents that reason, that technique. The willingness to allow the result to remain somewhat unpredictable is the purest expression of that desire\u2014of giving form to memory.<\/em><\/p>\n<\/div>

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3. The final result is a structural element, but one that reverberates with echoes of the uncanny (Freud\u2019s unheimlich, the eerie that lurks in the familiar). The irregular shape of the tree cuts through what should be an inert prism, carving its presence into an absence. What is no longer there draws attention to what once was\u2014Cain\u2019s column.<\/em><\/p>\n<\/div><\/div>\n\n\n\n

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The materiality of the existing brick chimney, with its quiet resilience over time, became the origin point for the project's discourse. It thus formed the starting point for the extension, allowing the new to emerge not as an imposition, but as something woven from what was already there. The newly added grill space\u2014simple yet imposing\u2014and the original chimney, the heart of the home, are far more than architectural features. In essence, they represent the collective history of our culture and its rituals of gathering.<\/p>\n\n\n\n

Though the residents may feel like they are observing something new, in a way they are in the presence of their own memories. They witness their echoes\u2014fragments of the past reconfigured into a collage of technical and aesthetic decisions. The house is sustained by a layering of temporalities, as if time itself were playing with rearranging the remains of lived experience into a new scene. Ultimately, there is no clear line separating present from past\u2014because to inhabit this house is, in essence, to dwell in intertwined time.<\/p>\n<\/div><\/div>\n\n\n\n

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estudio qo + Taller de Arquitectura la Fundacion<\/strong>
Design development and construction management<\/p>\n\n\n\n

Collaborators<\/strong>
Design development and construction management<\/em>:
Emilio Farias
Santiago Ghione<\/p>\n\n\n\n

Preliminary design<\/em>:
Franco Pozzi<\/p>\n\n\n\n

Program<\/strong>
Expansion for a single family house<\/p>\n\n\n\n

Area<\/strong>
75 m2 (ampliaci\u00f3n)<\/p>\n\n\n\n

Location<\/strong>
Funes, Santa Fe, Argentina.<\/p>\n\n\n\n

Year of design<\/strong>
2021<\/p>\n\n\n\n

Year of construction<\/strong>
2022-2023<\/p>\n\n\n\n

Photos<\/strong>
Javier Agust\u00edn Rojas\u00a0
<\/a>Parana Studio<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Obra Construida, 2023 \/ Funes, Santa Fe, Argentina. La obra comprende la reforma y ampliaci\u00f3n de una casa de fin de semana. Para cumplir con los requisitos t\u00e9cnicos y program\u00e1ticos del encargo se hizo uso de recursos que remiten a las casas familiares de los habitantes de esta residencia. El compromiso de hacer una casa […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-185","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages\/185","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/comments?post=185"}],"version-history":[{"count":20,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages\/185\/revisions"}],"predecessor-version":[{"id":1025,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages\/185\/revisions\/1025"}],"wp:attachment":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/media?parent=185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}