Three elements that guarantee the conception of an architectural proposal

The first time you need to carry out a project as an Architecture student, after attending an introductory course, two opposite effects will inevitably arise: on the one hand, the desire to experiment, to invent or to do whatever you want, and, on the other hand, the almost complete absence of the basic tools that are required to perform the task.

In this case, teaching a basic course again enforced the need to chew over the elements that had to be stated, which could guarantee sufficient support for the conception of a proposal.

  1. The first one is about the work with scale models as a fundamental element of approximation towards the project on various levels.
    This means that the first volumetric intuitions, the material intentions and even the construction of the object-scale model necessarily impose a level of coherence and severity limited by the technique and the material utilized in each scale-model.
  2. The second one limits the order to impose a structure of thin, systematically repeated elements. Consequently, the laws that govern the generation are no longer external to the field of architecture. On the contrary, they sprout from architecture itself. That is why the logic that governs the proposal also rules over the form, the structure and the construction.
  3. The third one limits the work rather due to the absence of strong geometric contributing factors determined by the habitual morphological status of the boundaries of the parcel.
    This fact causes it to be the purpose of the project and not the result of a lecture that is still premature for a student that just started studying architecture.

The project drives these three conditions in a clearly skilled way. Two linear elements, made up of an obsessive repetition of a pillar designed in order to have intentional proportion with respect to the floor, elevation and section, are the basis to develop the requested program. The discourse dominated by this order determines everything that occurs in its interior. There is an additional step in the proposal through an opposite rotation at the exterior space. An environment created with new order, based undoubtedly on those tempting proposals made by Burle Marx that, as in this case, can be the adequate rug of the architectural works to which it corresponded.

The presented scale-model synthesizes and unites in its construction the goals that were set and boosts both the understanding of the proposal and the demonstration of its validity.

Two opposite compositional systems: one which organizes the ground level, and one which defines the volume. A series of paths that can reveal us the logic of the position of smaller volumes that are spread out around the garden only in their route, and a volumetry that is present due to its pertinent structure, as this structure has become the image and the construction of the casing.

A project that was carried out well by Stefano Eger, third-year student of Architecture at University CEU Cardenal Herrera.


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