IN THIS BRIEF I DESIGNED A HOUSE WHERE EACH ROOM HAS A DIFFERENT SOUND QUALITY. THE GOAL WAS TO CREATE A NEW EXPERIENCE IN EACH ROOM (DEPENDING ON ITS FUNCTION) BY PLAYING WITH MATERIALTY, GEOMETRY AND VOLUME.
THE LIVING ROOM IS COVERED WITH AN ABSORBING PANEL (WALLS, FLOOR AND CEILING) WHICH SILENCES THE NOISE FROM THE ADJACENT ROOMS COMPLETELY. TO BRING BACK NATURAL SOUND I PLACED REFLECTIVE PANELS THAT ARE HANGING OVER THE DINING TABLE LIKE CHANDELIERS.

Reflective panels in a sound proof room, reflections are necessary for our orientation and perception of the space.

I am taking the interior to the exterior via plan (Raumplan) and the matter (marble and wood).
The socialist ideology in this design is ambiguous. It is apparent by virtue of the simple and modest concrete façade yet the design hides the richness of the interior. I would like to provoke this ambiguity by sharing the internal wealth with the external environment. This is achieved by changing the plan of the house to create one unified space and by bringing the rich materials (Mahogany wood, Cipolin marble and Travertine) to the external facade. The elements are accessibility elements; a door, a stairway and a partition wall yet they are situated in a manner that is inaccessible. This paradox comes to emphasize the ambiguity in Loos’ design concept.

The detachment between the facade and the interior in modern architecture makes a building foreign to itself. In many cases we withness extrordinary facades enveloping dull interiors, lowering the facade to the level of an ornament.
Loos's planing method, that of working on exterior and interior in seperate paths, is misleading and perhaps, dishonest. The classicism of Loos's exerior does not necessarily contradict the raumplan of the interior and may create a far more interesting relationship between the inside and out. I wish to reflect the Raumplan through the facade by redistributing and rescaling the windows in direct proportion to the correlating room volumes of the interior. I do agree with loos's respect for privacy and for that reason I chose to push the private room windows into the facade and extrude the public ones.
I find loos's decisions on the materiality of the rooms an immanent part of this project's
success. I chose to expose these materials from the exterior by placing the dominant material of each room on the counter wall facing that facade.

The detachment between the facade and the interior in modern architecture makes a building foreign to itself. In many cases we withness extrordinary facades enveloping dull interiors, lowering the facade to the level of an ornament.
Loos's planing method, that of working on exterior and interior in seperate paths, is misleading and perhaps, dishonest. The classicism of Loos's exerior does not necessarily contradict the raumplan of the interior and may create a far more interesting relationship between the inside and out. I wish to reflect the Raumplan through the facade by redistributing and rescaling the windows in direct proportion to the correlating room volumes of the interior. I do agree with loos's respect for privacy and for that reason I chose to push the private room windows into the facade and extrude the public ones.
I find loos's decisions on the materiality of the rooms an immanent part of this project's
success. I chose to expose these materials from the exterior by placing the dominant material of each room on the counter wall facing that facade.

The detachment between the facade and the interior in modern architecture makes a building foreign to itself. In many cases we withness extrordinary facades enveloping dull interiors, lowering the facade to the level of an ornament.
Loos's planing method, that of working on exterior and interior in seperate paths, is misleading and perhaps, dishonest. The classicism of Loos's exerior does not necessarily contradict the raumplan of the interior and may create a far more interesting relationship between the inside and out. I wish to reflect the Raumplan through the facade by redistributing and rescaling the windows in direct proportion to the correlating room volumes of the interior. I do agree with loos's respect for privacy and for that reason I chose to push the private room windows into the facade and extrude the public ones.
I find loos's decisions on the materiality of the rooms an immanent part of this project's
success. I chose to expose these materials from the exterior by placing the dominant material of each room on the counter wall facing that facade.

OUR BRIEF WAS TO DESIGN A CHAIR FOR A KNOWN FIGURE - JOSE 'PEPE' MUJICA, FORMER PRESIDENT OF URUGUAY. HE IS CONSIDERED TO BE THE POOREST PRESIDENT IN THE WORLD BECAUSE OF THE EXTREMELY MODEST WAY HE LIVES. HE CONVEYS AN IMAGE OF SIMPLE AND
COMMON, THOUGH IT SEEMS THAT THERE ARE HIDDEN MOTIVES BEHIND THIS IMAGE . WE WERE QUESTIONING THE AUTHENTICITY OF THIS IMAGE THROUGH A SERIES OF SUBTLE INTERVENTIONS ON THE MOST ICONIC AND BASIC CHAIR (IKEA). THE DISTORTIONS WEV'E MADE ON THE ORIGINAL CHAIRS ARE IN THE DIMENSIONS (TRIMMING 2 CM), ANGLE (OF THE BACKREST), WEIGHT (CASTED PLASTER ON BOTTOM), FRICTION (ADDED
RUBBER OR METAL TO THE LEGS).
THERE WAS ALMOST NO DISTORTION OF THE STOOLS BUT ONLY BY PLACING THEM IN THE CORRECT POSITION AND A FIXED DISTANCE IN RELATION TO THE CHAIR, THEY GAIN A NEW FUNCTION (TABLE, LEG REST AND STOOL).