BIENNALE ARCHITETTURA 2016 – NATIONAL PARTICIPATION OF ARGENTINA.

The seats made of truck tire cambers were invented by argentinian architect Rafael Iglesia

the structure was inspired in Rafael Iglesias "Altamira Building"

An imaginary sequence of a flooded pavilion

Located in the Pampa plains, in the east of the province of Cordoba, Saint Bernard´s Chapel (the local patron saint) rises in a small grove, originally occupied by a rural house and its yards, both dismantled in order to reuse their materials, especially its one-hundred-year-old bricks. The site does not have electricity or any other utilities; nature imposes its own conditions.  In the limit between the trees and the open country, the chapel´s volume opens up towards the sun, capturing the natural light of the sunset in the interior. Outside, a vertical and a horizontal poles are placed separately and projected towards the interior. As a result, every day all year round, the shadow of these, slides along the curved interior, finishing its tour overlapping with each other. Currently we all know Jesus Christ only carried the transverse pole on his back on his way to Gólgotha. The crucifixion is conceptually completed with the reunion of both poles, recreating the cross. Every day, the shadows of the poles make their way separately, just as in the “Via Crusis”, to finally meet and recreate the cross, not a symbolic cross but a ritual one, where the Passion happens again every day thanks to the sun, acquiring a cosmic dimension.

Francisco Cadau

Pablo Beitia, in Casa de la calle Serrano (House on Serrano Street) (Buenos Aires,1987-1994) "provided the walls with such an external force that it impels them to become arch and bridge. If it were not for that force, they would rest on the ground or fall. Weight and weightlessness. That which is lifted and that which falls. That which unites and that which separates." "The enormous arch with which Beitia contains the demands of the House on Serrano Street is a way of acknowledging the scale and the importance of the declaration that lies behind... Before crossing the treshold, one can sense that something is interrupting the scale of construction of the walls, the action of the hand laying in the bricks with which the arch was erected, and establishing the scale of the technique that built the new city on the existing one. The arch pierces the fabric to reach that new world, that possible destiny as a modern city" when drawing architectural plans that give us accurate signs from the work.

Estado Vargas, La Guaira, Venezuela; by: CAPA (Ariel Jacubovich + Martín Flugelman), Asymetric (Camilo González + Daniel Medina) 

In the proyect for Escuela Montessori (Montessori School) (2013-2015), "the site is part of a new housing and commercial development located in a rural area northwest of the Acceso Oeste highway, the Luján River and the City of Luján, 68 kilometres northwest of the City of Buenos Aires, in the Province of Buenos Aires. The city, founded in 1755 is well known for its great neogothic Basilica, built in honour of the Virgin of Luján, patroness of Argentina.Internal programmes are developed within the structures in two ways: as flexible public areas with a high-ceiling section facing the south, and more private areas with modular rooms articulated and interlocked with a low-roof section facing the north. Both structures and areas are closely interlinked, which enables fluid connectivity among all programmatic elements. In both areas, section profiles are the result of two continuous folded plate roofs (similar to series of linked houses following the domestic ideal of Montessori), reproduced through an extruded generator that extends mostly east-west in public areas and north south in classrooms, clashing and transitioning along a shared structural line the passage from one level to another."

The world of American geometrism of the temples of Chichén-Itzá that is still under construction in La Casa Siri (The Siri House) by Jorge Scrimaglio (Rosario,1990). "A different, primitive architect; a sculptor of spaces which he manipulates from the inside, moving, removing, thinking and rethinking over the same and other things, enduring time, without drawing what cannot be drawn, in tune with the artist"(Villafañe, Marcelo) "Putting bricks in simple arithmetic unit with an anonymous, collective, third person purpouse. "The" brick is a non-subjectivized element, with no intrinsic properties, but with situational properties; "The brick" can be a floor, a roof, stairs, a window, even a wall, depending on its spatial location. "The brick" insistent, builds, breaks, covers, lines, goes up, goes down, holds, withholds, supports, flees, disappears, without altering the unit." (Iglesia, Rafael)

by A77 (Gustavo Dieguez and Lucas Gilardi) Boulogne sur Mer, Buenos Aires, Argentina

The "Centro Cultural Nómade" (Nomadic Cultural Centre) (2010) -a cultural laboratory in the public space- is "a disused shipping container turned into a flexible module that makes it possible to carry out multiple actions in the public space together with the social and education institutions of each of the places that it visits. A small, compact universe deploys, in a few square metres, lots of possibilities for action: a library, an art gallery, a theatre and a school, with furniture especially built with recycled materials.

La Nave 1-2 (the Warehouse 1-2), buit by the architecture firm Ruiz Orrico (Maria Ruiz Orrico, Ignacio Ruiz Orrico) together with Martin Alvarez and Roberto Lombardi as associated architects, is an invitation to weave the hybrid fabric of suburbia.According to the authors:"This work is an industrial warehouse that can be divided into two parts and is intended for commercial activities. It stretches over two parcels overlooking different roads, and is located on a block at the far end of a recent extension of the urban fabric of the city of Villa María, Córdoba.The warehouse is on a corner and has a narrow front, which overlooks the colllector lane of the new Rosario-Córdoba motorway, and a long side overlooking a road that penetrates into the city grid, and it is one of the first buildings erected in these new urban, though still quite rural, parcels which serve as a case study in this hybrid factory."

San Luis 470, Rosario, Santa Fe Colaborating architects: Andrés Lombardo, Mariano Fiorentini

This stair, built by Rafael Iglesia, holds its structure only by pressure of the wooden battens that conform it.

By Diego Arraigada   Location: Rosario, Santa Fe province.Collaborations: Pablo Gamba, Lucia Landucci, Maria José Tasada, Delfina Castagnino, Agustina Mendez, Maria Emilia Bertero, Agustín Negri.

Epecuén -the lake- was a sacred place for the indigenous people, but the town experienced the magnificence of mundaneness and progress...Today, only its ruins remain, including the slaughterhouse, which was built by Salomone and opened on December 3rd, 1938. Like many works carried out by the firm SADOP, it was commissioned by Manuel Fresco, the powerful governor of the Buenos Aires province during Argentinas Infamous decade...There is a state of mind element in the Carhué-Epecuén slaughterhouse, and that element is dominated by catastrophe...Etymologically speaking, catastrophe means the fall of strophes... Every language inevitably falls, everything falls... We should always remember this... The ruins; the petrified trees; the saline, whitish-grey soil: everything is subject to the same climate of inevitability...Epecuén and the slaughterhouse are the expression of the truth underlying all the flat plains... all boundary architecture. Man enters his "human and mortal" dimension because omnipotency is no longer a feature of man, but of that otherness that we can neither decipher nor control: the Gods, the Holy...Thus the need for symbolization.Thus the poetics...

In the Casa-Estudio del pintor César Paternosto (House-Studio of the painter César Paternosto) (City Bell 1960-1962), it is possible "to find a certain resemblance between the work and a peach pit: rough on the outside, and totally soft and tender in the inside". It is a small construction of only 65m2, which could possibly be used as a studio where certain people can gather and also live (the painter, his wife and their little child). "Therefore, in that single room, the idea was to adjust space to the use that people made of the room, Thus, the height of the ceiling varies depending on the spot". "Te house is a deep reflection on the use of timber in architecture. This material is used in a particular way both in formwork and ceiling structures, as wall as in windows", especially in "the roof, whose shape and structure in the form of hyperbolic paraboloid enables it to administer light in a space of 17 meters merely with crossed half-inch pine boards."The House-Studio is, in a certain way, raw evidence of what "is". The only thing left to express is the most basic condition: technique as struction, which frees us from the obsession with the trivial search for an outer presence or, in other words, a re-presentation, going back to te "self". Once again, there is a mirror -an echo- that appears through con-struction.