Gyroscopic House

empowerment machines

DOMESTIC LANDSCAPE_Venezuela 2015-2016

A disability reflection in social housing programs, a tabula rasa review as a conscious demolition act. Two uneven structures are faced; one assimilates the other consuming it until it’s exhausted, transforming it and making it completely disappear. The preexistence body transcends as components of a new system on a readaptation and material ontology process. The house announces the lack of politics and technological innovation focused on the social living for reduced mobility people in slums and emergent settlements. It establish a critic on standarization of social housing and lack of attention into the specific of motor disability.

  • Commended House at The AR Housing Award 2017. The Architectural Review
  • XV Venice BiennialOf Architecture 2016. Reporting From The Front.
  • XX Architecture and Urbanism Biennial of Chile. Diálogos Impostergable
  • Nominated For The MCHAP Mies Crown Hall Americas Prize 2018

Irina Urriola

Produced from the understanding of mobility in motor disability, built in the community with local workers and intelligences and the needs of both of its inhabitants.

It’s the same house where things are still there. Old structure gets phagocytosed by the new one, readjusting it according to the forces and new transactions, new pattern of mobility and inhabiting. Time has been taken into consideration. The house isn’t delivered, it’s inhabited form the first day, directly experienced by its transformation, which in most cases is ferocious and overwhelming. The architecture arrives, supports and comes along with its immediate problematics. Activities are reorganized and articulated again on their same position, holding up direct relation with the site’s ecosystem. Every table, timber board, metal profile, and even nuts and bolts dismantled are been taken into consideration on a rigorous inventory about obsolescences. A conscious demolition exercise in contrast with a start over blank boards. The project works upon the idea of building a domestic landscape as a response of two main elements: a continuous surface to allow for the displacement through all the environments, the house service units, and the productive soil with flexible programmable units. The confronta tion between the public and private atmosphere of the house doesn’t happen on the facade surface due it’s lower as a public square and into the courtyards which brings it into its own dimension of the public.

The house announces the lack of discussion and technological innovation focused on the social living for reduced mobility people in slums and emergent settlements. It establish a critic on standardization of social interest housing and lack of attention into the specific of motor disability.

The Project Works build a domestic landscape as a continuous surface to allow the displacement of Luz Marina into the domestic cells of the house, and, simultaneously, a productive soil with flexible programmatic units which amplify two common activities of Gladys as farming and laundry services.

Irina Urriola

This project of a house for a disabled person tackles the issue of a lack of political will in solving the problems faced by people living with reduced mobility in poor areas and slums. The project highlights that through technological innovation, quality of life can be greatly improved. The house has a collective dimension.

As a gesture of inclusion and an invitation for social interaction, the roof is made into a public space accessible to local children. Visiting children are attracted by its unusual geometric form and the house becomes an important attraction and play-space in the neighbourhood. There is an intentional element of confrontation between the public and the private areas of the house.

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Mobility, connectivity and accesibility_The house announces the lack of public policies and technological innovations focused on social housing for reduced mobility in slums an emerging settlements. It establishes a critique to modern social housing standarization and the lack of attention into the specific of motor disability. Is organized through a scissor ramp which connects the intimicy of a farming yard with a panoramic view of the land through a public balcony; its placed on a delicate balance between the allowed slope percentage to introduce a ramp on a flat plot with less of 25 mts large an a dip of 2.10 mts below the street. The access ramp feeds 4 independant programmatic units protected by a visitable thermic cover. This 4 units contor starting from the orthogonal mesh of beams and straps into an organic floor plan which flows into the perimeter and breath thorugh 3 alternative yards.

It organizes through a scissor ramp which connects the intimicy of a farming yard with a panoramic view of a public balcony; its placed on a delicate balance, the access ramp feeds 4 autonomous cells protected by visitable thermic cover. This 4 units contor starting from the orthogonal mesh of beams and straps into an organic floor plan which flows into the perimeter and breath thorugh 3 alternative yards.

Irina Urriola

Irina Urriola

The house and its collective dimension_The collapse between the public and private atmosphere of the house does not occur int he facade line because this one is brought down allowing it to act as a public square an into one of the yard which becomes a public playground. Luz Marina can travel along the house through every day leisure and service circuits but also can derive into new domestic landscapes.

The house is a formal expression of this technic conditions but also builds her skin from the house before, which has been mapped as a preexistance and used for lost formwork, collaborating slabs and modular enclosures. The previous material is re-processed; doors and windows stay on a new morphology. The first is extruted from its original place into the street, the second turned from its original axis to become a yard; the programs rearrange and articulate again in their position, ensuring the relationships with the site ecosystem. Each table, sheet, profile an even a screw dismantled is cuantified and labeled in a rigurous inventory on upon the obsolescent. A concious demolition excersice and not of blank table (tabula rasa).

The collapse between the public and private atmosphere of the house does not occur int he facade line because this one is brought down allowing it to act as a public square an into one of the yard which becomes a public playground. Luz Marina can travel along the house through every day leisure and service circuits but also can derive into new domestic landscapes. The house is a formal expression of this technic conditions but also builds her skin from the house before, which has been mapped as a preexistance and used for lost formwork, collaborating slabs and modular enclosures. The previous material is re-processed; doors and windows stay on a new morphology. The first is extruted from its original place into the street, the second turned from its original axis to become a yard; the programs rearrange and articulate again in their position, ensuring the relationships with the site ecosystem. Each table, sheet, profile an even a screw dismantled is cuantified and labeled in a rigurous inventory on upon the obsolescent. A concious demolition excersice and not of blank table (tabula rasa).

Henrique Berni

Striped plastic bands wall knitted on a chromatic pattern band. Strip knitting walls, banding patterns crossing with double curvature surfaces, preexistent and reused beams. The double curvature is accomplished by crossing two systems, the first is a structured sur-face reusing the profiles from the house and a zigzagging net on the other direction, modifying the color intensity on a striped pattern bands .

Henrique Berni

Irina Urriola

The house works as a domestic landscape for people with reduced mobility. There is a support handrail which runs along the multitude of vectors of the house, this allows Luz Marina to wander freely inside and outside the house, to the external patios, on any route she chooses.

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

Irina Urriola

The house is not handed over in a finished state, rather, it is inhabited by its owners throughout its various stages of completion. Their everyday activities are transferred to their new positions in the new house, while retaining certain spacial relationships which remain important to its inhabitants and their way of life. The proud new owners of the house, in turn, play an active role in weaving its walls and furniture in order to complete it.

Irina Urriola