He September 11th building It is a complex of twelve homes conceptually united in a residential project located on an almost triangular block. The land is delimited by 11 de Septiembre, Paroissien, 3 de Febrero and Comodoro Martín Rivadavia streets, in Núñez.
The union of two lots that embrace each other in the center of the block allowed del Puerto-Sardin / Berson Arquitectura expand development.
“With the work already underway, a smaller piece of land located perpendicular to Paroissien was purchased, which was Incorporated to the project with the same language and allowed to propose the articulation of both lots to the existing layout. The main entrance, pedestrian and vehicular, occurs on September 11 and we annexed a vehicle-only entrance on the other street,” explains Horacio Sardin.
Facing September 11, the built volume envelops an interior patio and reaches the heart of the block, leaning on a long party wall, to end in a staggered manner towards the back of the lot.
On the smaller property, the construction completes both the fabric of the block and the interior lung. The patio houses the vertical core and accesses to the units, materialized by open walkways. Another function it performs is to enable cross ventilation of the interior environments.
A building that sings
Generate a building that leaves a positive footprint on the urban landscape It was the intention of the designers. The descriptive memory quotes a phrase by Paul Valéry from the book Eupalinos or the architect which Sardin explains.
“It is the reference to the fact that there are silent buildings and buildings that speak or even sing. A garden building In a gray landscape is a building that sings, that generates empathy with the environment due to its shape as well. At another time, someone would have thought a tower or something strident. This building does not scream, it fits into the street and is solidarity with the general law from the city. At the same time, it is unique. “He has personality.”
The designer adds that the architecture proposed on that firm front is going stepping into waterfall towards the quiet part of the building in a more friendly way for the neighborhood and for the neighbors.
Regarding formality, the set is made up of slabs of changing silhouettes that generate voids, bridges and double heights in order to provide dynamism.
“The intention was to produce a certain degree of variety and surprise. A route with spatial sequences was proposed, which can be seen both in the double heights and in the flower bed system that protrudes from the building in different directions,” explains Sardin.
The volume that faces 11 de Septiembre Street is pierced in the central area – where the double-height entrance hall is located -, like a exempt piece that allows permeability to the interior of the set.
The ground floor houses the entrance hall and the garageswhile the upper decks are appropriated by the units of the last level.
Materiality
Concrete emerges almost as the only material and, in the words of the architect, it was “worked in a sculptural way.”
The entire structure of the building is reinforced concrete. The envelopes are exposed concrete partitions in the patios; and black cement coating on the facades. At the base of the building is incorporated madera as “friendly material that accompanies passers-by as they walk along the sidewalk.”
The vegetation is taken into account as one more material and is introduced into the complex through large flower beds and green terraces. The choice of native vegetation, which attracts birds and butterflies, was designed with the idea of transforming the building into an urban oasis.
On the first floor, designed as the social center of the complex, are located the common areaswhich include a meeting room, swimming pool and solarium.
“All units are different. They are designed as unique high-rise houses and we were able to design them especially for each family because most of them had already been sold when the project began. We were even able to work directly with the owners,” concludes Sardin.
A dialogue between Socrates and Phaedrus
Paul Valéry In “Eupalinos or the architect” he addresses topics ranging from time and death (or life) to philosophy, beauty and also creation and the creator. The text is a dialogue between Socrates and Phaedrus that takes place in the poetic and inhabited underworld of the Greeks.
Eupalinosthe architect and author of the tunnel-aqueduct that bears his name in Samos, appears through the words of Phaedrus. “Have you not noticed while walking around this city that among the buildings that populate it, some are mute, that others speak, and that others, in short, the strangest ones, sing?” is the quote chosen by the authors.
However, there is another one that is worth it (or joy) and is relevant: “It is therefore reasonable to think that man’s creations are made, or seen from, his body, and that is the principle called utility, or in view of his soul and that is what man seeks with beauty…Only architecture demands them and takes them to the highest point,” Socrates responds to Phaedrus’s question of whether building would perhaps be creating by separate principles.
Datasheet
Location. September 11, 3966, CABA Surface. 3.500 m2 Ending year. 2022 Project and direction. Del Puerto-Sardin/Berson Arquitectura Collaborator. Arq. Diego Cohen Development. Dimak / Houston Structural calculation. Ing. Eduardo Diner Landscaping. Engineer Fernando González Photographs. Albano Garcia