The building is structured as a central organization, whose programmatic core is the auditorium, and which, mediated by a circulatory bellows, deploys leisure and educational programs on the perimeter. The public programs of general access deploys in the outer ring of the ground floor, towards the Rodrigo Bueno neighborhood, the access, the bar and the library, with semi-covered areas extend the programs to the exterior.
The exhibition areas, both covered and semi-covered, are located towards the Ecological Reserve. Located in the center of the building, the auditorium has a permeable perimeter enclosure system that can be opened expanding its spatiality, extending its interior to the spaces of the entrance hall, the library and the exhibition hall. This modality enhances the use of the auditorium and makes a dynamic space that supports multiple uses even more flexible and expandable.
The building generates series of expansions both on the ground floor and on the top floor. The expansions are understood as extensions of the quality of the interior space in semi-covered and uncovered spaces. In the case of the library, the expansion is the connection with the bar, giving the possibility of the appearance of a hybrid space where the activities of both programs can be integrated.
The building is structured as a central organization, whose programmatic core is the auditorium, and which, mediated by a circulatory bellows, deploys leisure and educational programs on the perimeter. The public programs of general access deploys in the outer ring of the ground floor, towards the Rodrigo Bueno neighborhood, the access, the bar and the library, with semi-covered areas extend the programs to the exterior.
The exhibition areas, both covered and semi-covered, are located towards the Ecological Reserve. Located in the center of the building, the auditorium has a permeable perimeter enclosure system that can be opened expanding its spatiality, extending its interior to the spaces of the entrance hall, the library and the exhibition hall. This modality enhances the use of the auditorium and makes a dynamic space that supports multiple uses even more flexible and expandable.
The building generates series of expansions both on the ground floor and on the top floor. The expansions are understood as extensions of the quality of the interior space in semi-covered and uncovered spaces. In the case of the library, the expansion is the connection with the bar, giving the possibility of the appearance of a hybrid space where the activities of both programs can be integrated.
CAMARCO
Reactive façade for the construction business
Date 2013
Location Buenos Aires, Argentina
Type Competition
Program Façade and Lobby
Project team Santiago Miret and Federico Garrido
Having abandoned the modern premise of transparency (both material and organizational), the problem of the façade as a laminar body presents us with new expressive and material opportunities worthy of being explored. Of the various tectonic definitions Kenneth Frampton cites Edouard Sekler defining tectonics as "a certain expressivity produced by the static resistance resulting from the constructive form, such that the resulting expression could not be explained only in terms of structure and construction". Rem Koolhaas noted that it was possible to divorce the activities inside the building from the material and expressive manifestation of its façade. He called this procedure "lobotomy" understood as the dissociation between the container and the content, similar to the medical procedure.
Understanding then the redundancy of the concept of transparency, the ubiquity of environmental comfort systems and the need for expressive differentiation that certain urban typologies claim (such as office buildings or shopping malls), make the façade have other requirements, understood now as a manifestation of another material order, as a means of communication. The facade now understood as an ornament (not as decoration) speaks of these new requirements and how they are materially and expressively constituted. The facade as an ornament does not attempt to communicate (in a postmodern way) local and recognizable values, but aspires to become a material affirmation of an organization that until then remained invisible.
