martes, 2 de agosto de 2011

OMA 1998: Casa Y2K en Rotterdam, el antecedente de la Casa da Musica


Casa Y2K en Rotterdam, 1998.
Autores en OMA: Rem Koolhaas, Fernando Romero Havaux with Uwe Herlyn, Erik Schotte

Imágenes tal cual se presenta el proyecto, tomadas de la revista Global Architecture Houses nº63, PROJECT 2000, Marzo 2000. Editada por A.D.A Edita, Tokio.
Seleccionada para el blog por el arq. Martín Lisnovsky

A continuación, la presentación del proyecto tal cual se puede ver hoy en el link oficial del autor:

"In 1998 OMA was approached by a client who was living with his family in a house in the suburbs of Rotterdam and because he liked the view, he bought the garden first and then the meadow behind it and later also the meadow beyond that. As a result he had the certainty that for his entire life there would be a view of one-kilometre depth available to him.

The client made three statements which were all equally important requirements for design. First of all he hated mess. Another declaration was his anxiety towards the Y2K problem. He wanted OMA to think about the house before the year 2000 although they would do nothing in the house until after the year 2000, until they were sure that it was safe. The last requirement was it would have to be partly a house where they could all be together, but also a place where they could all live separately.
In response to the client’s particular demands and possibilities, we produced a house where everything that is necessary in a house (kitchen, bathroom, etc) surrounded a single space, resulting in a tunnel-like design with a central space where the family could get together if and when they wanted to. Everything other than the central space became an external element or a body where all the organs were on the outside and where the skin is used on the inside.
We conceived a thick layer that surrounded the tunnel on four sides and these four sides contained all the elements of the house and that to some extent there would be no house there and the tunnel would be a simple focus on the view.
With this design the entire house could also act as a big storage element that allowed the client to hide any mess. Excavated from the storage element however, there would be all the other important parts of the house: a living room, his department, her department, the kitchen... In that way, the house would consist of completely empty, abstract spaces and completely solid, mysterious spaces that contain mess, junk, services and other necessities.
After further discussions with the client we had two options for the house, either the solid could be really solid (i.e. interior and exterior walls), so that the spaces were absolute and voided, or the solid could be built of translucent materials, such as a translucent concrete, so that you would not sense the mess, but behind it there would be the compacted evidence of everyday life, in the form of dirty linen, books, etc.
Other options discussed for the house included allowing for rotation so that any person in the house could rotate it in the direction of the view that they would want to enjoy.

Postscript
In 1999 OMA was invited to participate in a competition for the construction of a concert hall for Porto. We thought that we could use the concept that we had thought up for the house, but this time for a concert hall. OMA's bid was successful and the project, Casa da Musica, was completed and opened to the public in 2005.

Autor: Hans Werlemann© All rights reserved
. Link: http://www.oma.eu

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