PAREDES TRES OCHO HOUSE
HERNÁNDEZ SILVA AR. ASOC.
AR. JORGE LUIS HERNÁNDEZ SILVA
ENGR. HÉCTOR MENDOZA MEJÍA
AR. BELEN ALDAPA OROZCO
AR. FRANCISCO GUTIÉRREZ PEREGRINA
AR. ROMAN FERNÁNDEZ
TLAJOMULCO DE ZÚÑIGA, JALISCO, MÉXICO
ACERO Y CONCRETO S.A DE C.V
ENGR. DOMINGO URIARTE
CARLOS DÍAZ CORONA
The project parts from a conventional land in the city, with the limitations of the regulations: easements, heights, and densities, but it took an interesting shift when talking to the client for the first time: \"before I talk about our home needs I want to think about the house as an analogy of space to a piece of music. That is, the path as the evolution of the music sheet that hosts all sorts of feelings, from silence to the stridency...”
The land is oriented in an east-west axis, very close to the Primavera forest. With such difficult land orientation and an unconventional customer, facilitate experimentation, forcing the project to work harder on the concept than on its definite style.
The project dismembers \"the whole” to weave spaces with a multi-directional line that emanates a path that is always dedicated to light, transparency and a space that always varies in dimensions.
The formal concept is perceived quite literally: a large black box that levitates, wrapped by a squad firmly anchored to the ground and that are linked by a transparent veil, topped with another great bracket that blends with the solid, but with the perception of weightlessness.
The house is closed to the outside but open to its privacy by taking advantage of different spatial relationships thanks to the different levels proposed on the project.
The initial proposal is born from the optimization of the exterior areas that is why the garage and services are located half a level under the street, which also allows for an additional half platform that generates double height spaces. By placing the second floor in a single plane, leaving some empty spaces, the space flows from the first level to the upper cover.
The structure uses heavy materials on its base that become lighter when higher, foundations and walls are raw concrete, emanating from the ground formed by plain white walls.
All rooms are linked by two circulations that cross over the large container, attached to a big void. These circulations are transparent allowing the light distribution to all areas. The main intention is to weave spaces while still expressing each individually, using a circulation line that allows the continuity of space in different directions.
In the entrance from the street there is a very vertical double plane space that permits an air cushion to temper the heat of the west and separate the street. A closed living shelters the visitor and gradually takes him to find the house where the spaces dimension increases and deepens according to the path until finishing at the center that becomes the \"allegro with brio\" or even the tearing voice of a \"grunge\" piece, here the space has been torn in all directions: vegetation, concrete, glass, wood, lava stone, iron and water. The space deviates emphasizing to penetrate the midpoint of the gap, trying that the user becomes a central viewer involved in different transparencies, textures and materials. The two horizontal circulations are interconnected by a staircase located in the large central void and placed in reverse of what is usually used creating a balcony that allows visual between the inner vegetation until the end of the land.
The car-home connection is the most recurring of the entrances, which is why it was worked with the same dignity as the pedestrian access; it uses the same central area creating a path emerging from the ground and it is caught by the central pond.
In the city of Guadalajara, particularly in the area, the weather is generous most of the year; the terraces are undoubtedly the most comfortable spaces. The house has the flexibility to become a large terrace of great height; windows linked to the central space, living and terrace, can be hidden to open the space to the outside vegetation with a fixed pond (at the center) and a temporary one (at the exterior). This allows the terrace to interrelate without any obstacles to the garden.
Kitchen and dining room are linked to the entrance level; the first one is located towards the street with an output window of the facade which extends the internal perspective, the second one looks over the terrace and the central area, receiving natural air from the side garden.
The entire second level is connected by a single translucent bridge topped by a subtle staircase that leads to the top level which is the meditation room, working as a large gazebo over the hill, creating an auspicious atmosphere for reflection.