Feb 2, 2012
This is architecture that originates from the system of Cidori, an old Japanese toy. Cidori is an assembly of wood sticks with joints having unique shape, which can be extended merely by twisting the sticks, without any nails or metal fittings. The tradition of this toy has been passed on in Hida Takayama, a small town in a mountain, where many skilled craftsmen still exist. Cidori has a wood 12 mm square as its element, which for this building was transformed into different sizes. Parts are 60mm×60mm×200cm or 60mm×60mm×400cm, and form a grid of 50cm square. This cubic grid also becomes the grid on its own for the showcase in the museum. Jun Sato, structural engineer for the project, conducted a compressive and flexure test to check the strength of this system, and verified that even the device of a toy could be adapted to ‘big’ buildings. This architecture shows the possibility of creating a universe by combining small units like toys with your own hands. We worked on the project in the hope that the era of machine-made architectures would be over, and human beings would build them again by themselves. Link here.
Jan 26, 2012
'Building a place for oneself is an opportunity with its own risks and difficulties. I chose a place in one of Granada’s earliest areas, the neighborhood of El Realejo enar Campo del Príncipe, on a site favored by views of the west side of the Alhambra, presided over by the Manuel de Falla Auditorium and the country house and garden of the Martyrs. Further back, behind the cedars, chestnuts, magnolias and palm trees in the gardens of the little hotels in Belén stands the Sierra Nevada mountain range. This lot would have been rejected by many because its tiny size precludes a conventional distribution. Only 3.60 meters deep and ten meters wide, this work is an exercise in minimums, a laboratory of light and construction intended for living. The program is as exceptional as this tiny lot on Belén street. It is adapted to stack work areas and a living space for a single person without renouncing quality and spatial wealth. And it does so with very straightforward means, such as the manipulation of natural light, varying heights indoors to compensate for the narrowness of the rooms, and of course, an absolute minimum of compartmentalization. Thus, the stairs and service areas are at the ends, leaving the central spaces free.' - Elisa Valero Ramos