Location: Jacó, Puntarenas, Costa Rica
Completion date: 2016
Built area: 370m2
Lead Architects: John Carlos Osborne Odio
Design Team: Melissa Araya, Hanzel Pérez, Billy Marín, Juan Calderón, Alberto Bonilla Trejos
Electrical Design: Em Consultores Byb Sa
Mechanical Design: Delmajo Sa
Structural Design: S3 Ingenieros
Topographic Design: Esteban Arias
Photographer: Fernando Alda
Text provided by the architects:
What position before the unstable?
Architecture seeks permanence. Italo Calvino raised in 1985 "Six proposals for the next millennium"; The lightness as the first but warns not to confuse it with frivolity.
The architecture is afraid to be frivolous in his attempt, is the fun of mountains, seas and planets.
They invited me to design a permanent solution on land unconsolidated freshly cut red clay in Playa Hermosa Jacó.
The project did not fit on the terraces made and the instability of the events reminded me of the importance of being light. Fighting against "the wave" is a sure fall, but if we find the line of least resistance we swing, falling. Naturalness
The color of the earth and its erosion made an impression. Facing a reality is an opportunity to elevate meanings and with clients we talked about approaching a solution that would age gracefully and distant from one of continuous maintenance. We choose concrete in its natural state and corten steel.
Although lightness and naturalness elude immediacy, I am interested in something other than rushing or improvising lightly, this results in seriousness. The lightness that I consist of is that supported by the practice of what one loves. A preparation or cultivation of passion that allows you to arrive lightly in situations of high complexity and difficulty.
The site was complicated, the street with a slope outside the norm and without space to build. We responded with a pre-fabrication, a true use of imagination. I am referring to the exercise of simulating or preparing for an event by visualizing its cadence.
Like a dancer, imagining each step to be performed in an elaborate choreography. A concrete system called Multiformas was used and skilled tinsmiths were hired for the steel panels and details. This streamlined and minimized construction site debris.
I strive to maintain paradoxes in my work. In other words, I find it vital that the solution involves questions. If the above is esoteric, let's talk about the Dark Glade. Strong contrasts apparently present a simple duality, but in the same way that Baroque painters developed this technique, the result of a strong shadow and a strong light was the atmosphere. The house is open and at the same time closed; It has great views as well as
these feel blocked.
It is a sequence of disappointment not because of the desire to de-construct but in the desire not to become complacent.