area to which you give multiple functionalities, complementary to what is missing, and you link them with short-distance isochrons... then you produce changes that are no longer roadways but a way of life. People are going to have a different way of life. Yves Besançon R Part of what you propose will require many regulatory and legislative changes. Because this city has different mayors and municipalities with different realities and regulations that are united by the Alameda axis. Carlos Moreno R Completely, that is part of what we are saying. Santiago is a counter-example because we are talking about 52 communities for six or seven kilometers of Nueva Alameda with different community regulations of height, density, etc., which are not at the same level as a capital city. !
To understand the real dimension and transcendence of Ochoalcubo as a contribution to the thinking of the single-family home, not only lo- cally but internationally, we will begin by explaining the development of experimental housing as a fact of academic thought after the First World War. It was during this period when in Germany, after the merger of the School of Fine Arts (Grossherzogliche Hochschule für bildende Kunst) with Henry Van de Velde's School of Applied Arts or School of Arts and Crafts (Grossherzogliche Kunstgewerbesschule), the Bauhaus (House of Construction) was formed under the leadership of Walter Gropius. One of his great contributions to housing was made in 1923, con- sidering that his initial program did not include architecture as such. As a result of strong pressure from the Thuringia State to show his achievements, and thus continue to have financial contributions, Gropius organized the great exhibition of 1923 and in it, he designed and built a great contribution to the innovation of the so-called “domestic space” with the “model house, Haus Am Horn”. ¹ This project by Georg Muche was the result of the participation of all the workshops from the school in a unified vision of the arts and thought that resulted in a house that, although humble in its format, is a paradigm of the modern house. It was also the beginning of the Modern Movement in experimenting with the single-family home, particularly in proposing a house model without a client, allowing the original architectural proposal to be realized by the architect without being modified in the design process, a product of third parties. One of the first examples worldwide was the “Modern House Project” from the mid-1920s in Frankfurt, planned and designed by Ernst May, with prototype kitchens designed by Margaret Schüttelihotzky. Only two years after the Am Horn house, the Werkbund called for an exhibition under the theme “The Dwelling”, that was held in the city of Stutt- gart, as part of the city's municipal program, to show new concepts from the German Werkbund, indicating a path to the future, both nationally and internationally. Its principle was to build for a large population by creating new architecture, and it was proposed that at the end of the exhibition, the houses would be donated. In 1927 the expo opened and Julius Posener described the proposal as “The great road along which modern architecture is advancing”. The so-called “Weissenhofsiedlung of Stuttgart 1927” was a great success by building a set of 21 projects, two of which were apartment buildings with 17 renowned architects. ² The Weissenhofsiedlung would become the paradigm for architectural experimentation in housing and set the future precedent for modern architecture. The United States would later join the so-called “Case Study Houses”, created from a process initiated in Los Angeles, California, by John Entenza, editor of the avant-garde magazine Arts & Architecture and a great admirer of the Modern Movement. The businessman joined forces with designer and architect Charles Eames, who supported him in the housing program and designed the Entenza House, No. 9, together with Eero Saarinen. Entenza wanted to provide the American public, like its German coun- terpart, with low-cost housing for all, as a way to increase the demand for housing in a country emerging from a Depression and World War II. The idea was to create some sort of modern prototypes that would later be mass-produced with the use of industrial materials such as steel. With this idea in mind, he got clients and young architects whom he person- ally chose to participate in and manage the construction of each of the houses. A total of 28 houses and two apartment buildings were planned between 1945 and 1966. Young architects starting their careers, in a post-war country where a construction boom was starting to take off. ³ 1 In 1996, this house entered the Unesco monument preservation program and was declared a 20th century World Heritage Site as part of Bauhaus and its sites in Weimar and Dessau. 2 Mies Van Der Rohe, J.J.P. Oud, Víctor Bourgeois, Adolf G. Schneck, Le Corbusier, Pierre Jeanneret, Walter Gropius, Ludwig Hilberseimer, Bruno Taut, Hans Poelzig, Richard Döcker, Max Taut, Adolf Rading, Josef Frank, Mart Stam, Peter Behrens & Hans Scharoun. Declared national historic heritage sites by Germany. 3 The most representative architects were; Pierre Koenig - Craig Ellwood - Charles & Ray Eames - Raphael Soriano.
GUEST ARCHITECT
Distinguished with the Honor Award from the College of Architects of Chile, in 2019, he is recognized as the visionary who created the Ochoalcubo projects on the coast of Marbella and Ochoquebradas in Los Vilos. Eduardo Godoy By: Pablo Altikes Pinilla "Without dreams, one lives very poorly”, said Eduardo Godoy in an interview for the Vivienda y Decoración issue No. 483 of the El Mercurio newspaper in 2005. In that same interview, a comment by Smiljan Radic, referring to Godoy himself, is striking, stating that he has: “That share of unconditional and obsessed madness around a project, a friendship, or simply a taste”. Walt Whitman's poem “Don't Stop” pristinely defines Godoy's way of life, the mind behind Ochoalcubo “Don't let the day end without growing a little, without being happy, without increasing your dreams. Don't let yourself be overcome by discouragement. Don't let anyone take away your right to express yourself, which is almost a must. Do not give up the desire to make your life something extraordinary”. When you talk to Eduardo Godoy, he manages to transmit that look and passion he has regarding the value of architecture and the role it should play as a tool for teaching students, architects, and the entire community.
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