Fundación Frágil is the name Radić has given to the institution that manages his collection and produces his publications. The concept of fragility is another key theme underlying Radić’s architecture. The fragile and the ephemeral can be seen in his work as a contemporary interpre- tation of necessity and, taken to the extreme, of the human condition itself. Perhaps his interest in pneumatic structures can be seen, from this perspective, as resonating with Semper, who viewed textile structures as one of architecture’s origins. Radić’s work spans multiple genres, from public buildings to pavilions. Several of his interests and concerns converge in his radical intervention at the Chilean Museum of Pre-Columbian Art, caught between structural problems and material textures; between the sophisticated fabric of the pneumatic roof and the “huevillo” that lines one of the courtyards. Navigating these transitions with rigor and delicacy, while exploring new forms throughout the design process, defines and justifies Radić’s work. Such is the lesson he teaches as an architect and the contribution he offers to the public. For all of this, we owe him our gratitude. !
and masonry walls and the Oregon pine structure were restored and revitalized. Everything was carefully cleaned, sandblasted, and, where necessary, restored, bringing back the splendor of its original materials. To lighten the structure, the infill in the partition walls was removed, exposing the wooden framework. The new partitions between rooms were constructed using translucent panels, allowing natural light to reach the center of the floor plan and creating a new spatiality characterized by transparency and lightness. The original stained-glass windows were salvaged and restored, inte- grating them into the new ones in a gesture that preserves the site’s history. The two new staircases connecting the basement and the transfor- mation of the dormers into skylights were designed with a contemporary and neutral aesthetic, respectfully engaging with the existing elements and establishing a harmonious contrast. !
02_ Costanera Plaza
The project occupies an entire city block facing a tree-lined plaza. By creating an opening in the building’s volume, the design aims to allow the plaza to extend into the project through a transparent threshold, ensuring that views and natural light are always present in the central courtyard and the open circulation spaces leading to the apartments. The building’s lobby is detached from the structure, transforming it into a transparent pavilion that visually connects the central courtyard with Raúl Devés Plaza. This lobby becomes a pavilion with its own inde- pendent structure and materials, featuring structural frames of laminated wood and stainless-steel diagonals. The enclosure consists of frameless glass panels attached to the structure with metal connectors. A skylight provides even lighting, eliminating the need for lamps and spotlights. The central courtyard features tall-trunked trees and evergreen foliage, creating a protective canopy. To mitigate the impact of a building that occupies an entire block, the project’s perimeter envelope is divided into four seemingly independent volumes. The design language is honest and simple: exposed concrete, metal railings, and ventilated facades, eschewing artificial embellishments and ornamentation. The concept of a front yard is eliminated, widening the sidewalks to provide open access to a commercial base and avoiding the creation of a perimeter ring of fenced-in private patios. !
works
01_ Recoleta House
La Casona Recoleta 1179 is part of a complex of two houses that once belonged to an early 20th-century glass factory and is located on the corner of Schlack Street. Ten years ago, architect Cristián Undurraga designed the conversion of part of this complex to house the headquarters of the Mustakis Foun- dation (AOA40 Magazine). In this new phase, the corner house—the main building of the com- plex—is being renovated with the aim of restoring and integrating it into the Espacio 1179 project, which houses various social organizations focused on community development and well-being. The manor house is structured with 60-centimeter-thick masonry perimeter walls supported by stone walls in the basement. The entire interior of the building is structured with wooden partitions resting on large beams and pillars. The renovation strategy focused on clearing, restoring, and highlight- ing the house’s original structure, textures, and spatial layout. The stone
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