14.05-VCH- 3S & A STEREOTOMY HOUSE

In the first glance, the house materializes as a remembrance of Gunnar Asplund and Sigurd Lewerentz’s Nordic classicism. A concrete portico, as-a-colonnade-in antis, is creaky opened to the sky.

Besides a wooden fence, lateral to the main axis defined by the colonnade, the visitor crosses a first courtyard, built as a void stereotomy. There you can find a simple door.

The main axis of the house is discovered from this point. Suddenly, the sequence portico, porch, courtyard, enclosed living area, courtyard, portico, pool, lake, landscape it is settled in front of the eyes of the visitor. The house live dances around this apparently static axis.

Some windows opened in the flanking walls of this sequence reveal two lateral private courtyards. These diagonal openings in the wall extend the views through the diaphragmatic structure of the main stereotomy, connecting it with the landscape.

The richness of the space is enclosed in traditional austere materials. Walls are regularly white rendered. Snowy freckled terrazzo pavements are extended both in interior and exterior areas, embedded in the base of the walls. As it happens in modernist houses, sometimes there is minimum glazing plane in between the wall openings.

The fare face concrete roofs, framed in between walls and beams, avoid the possible spatial white solipsism. Its wood texture reveals a basic and noble construction, carefully casted.

The abstract stereotomy of the house is as adapted to place, program and time, as it aims the sense of belonging to architecture itself. And it was designed in a perpetual debt to an unexpected and distant beloved master.