Advanced Design Studio: Diaz-Alonso
My proposal works extensively with cutting. The exterior is an aggregation of pieces which bear the markings of extensive slicing and recombination. While all different, one could insinuate that these pieces were once part of the same original whole, violently separated and then quickly reassembled. Thus, continuity is broken by protrusions, rough overlapping, and deep scars. Within the voids created by these masses is a gold membrane which houses all of the exhibition spaces. Without naturally flat surfaces, guests are given access through a scaffolding of platforms and stairs. Inverting the use of gold in the original secession building, this interior entity peaks out of the bottom of the building, as though it is standing on legs. This appearance suggests that the building’s relationship to the site is tenuous at best and creates a tension with the ground. that confronts the classical stability of the surrounding context.
Despite the alien nature of the geometry, the building retains strong suggestions of symmetry. The front façade is composed of four relatively equal components, the plan consists of a central hall with three side spaces, and the overall mass rests on three nearly symmetrical legs. Combined with a radically new formal language, this symmetry puts the project directly in dialogue with the building’s secessionist counterpart.
This house is composed of two facing elements: an enclosed, private “poshe” wall, which contains all of the bedrooms, and a thin enclosing wall. Together, the two interact to create the public spaces within the house. Because the two are separate, the house is able to expand and contract to adapt to various narrow site conditions