The temple of art | Cuyo’s diary

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At the same time, and also at first glance, the block construction, the location of the openings and even the design of the central chimney, among other details, warn that everything inside is ready to create.

Lisandro, the person in charge of this work that transcends the constructive to take it to a higher plane linked to current models of space optimization, reuse of materials, revaluation and care for nature, is 31 years old and graduated from architect just four years ago. His professional course is clear and marked by those trends shown by this work located on Route 12 at km 27 in Zonda.

“I am interested in an architecture that goes on the side of experimentation with materials. In this case, it is a work that, within the traditional, seeks unconventional ways of altering repeated techniques ad nauseam, seeking to optimize the material, recycle, search different spatialities, that is, finding divergences in tradition. Nowadays it is like that all over the world because it is not only a search for aesthetics, but also for optimization of processes and resources, and this is what interests me professionally ” , indicates.

Of course, doing the workshop where his father will continue to make works that will remain in history had a strong weight when deciding every detail.

The genesis of this creation site was around 2007 when his grandfather -Mario Vinzio- passed away, who lived in Patricias Sanjuaninas and General Paz streets, a very special place for Lisandro, surrounded by a unique atmosphere, as he himself defines it. . At that moment the idea arose to start generating a workshop elsewhere. “So it was that my parents built their house in Zonda and decided to put down roots, at the same time the need to build this workspace arose. You have to think that architecture is made of the future but also of the past that is why in this atmosphere I tried to build here is the memory of my childhood, of what is lost, of what is no longer there and I want it to feel. I also grew up in my father’s workshop, so I know very well the needs and even the smells of paint , clay and every material that is worked on. For me, matter and materiality have always been decisive and my architecture – now that I begin to see it in perspective – is linked to all that, “says Lisandro.

The concrete blocks were chosen to raise the main walls, and this choice, of course, was not by chance. Is that for a long time he has been working on an engineering study that has not yet been published due to the pandemic, in which the functionality of blocks filled with concrete was investigated. This type of construction gives the feeling that they were stacked with an “ashlar” effect, as they call it in architecture, which also allows a plastic working game.

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INTELLIGENT CONSTRUCTION

A simple observer notices that these walls have blocks placed in a non-traditional way, which is why the labor and intervention of Lisandro was of fundamental importance in each square meter of construction.

Although it is often said that this material is not a good thermal insulator, for Lisandro it was not an obstacle since there were other elements used to create more pleasant environments with minimal use of any type of energy. “In this building the eaves and the entire roof protect the walls so they are very little invaded by the sun in the summer, it is a desert architecture. With this system I decided to solve it since each part is related to the other,” he says .

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The particular shape of the new building is thought from design and functionality. “If you pay attention to the three wings, everything is made up of the same parts that are geometrically double curvatures, everything is repeated like things in nature, around a center – like a flower, for example-. It has a natural genesis, very organic, and at the same time the function is accommodated according to its destination, that is to say that although everything is the same, in reality it is not. Also looking for convection, when a building is a parallelepiped the hot air rises instead with this type in ways it never stagnates and hot air comes out of the central chimney “, says the architect.

Another added value is that this original oculus opens or closes with a crank according to needs. “Although it is a more complex roof than a traditional roof, it provides less energy use because it works more passively to heat. That is why I say that it is an aerodynamic device since it works that way. To this are added the parasols that are plates located joining the eaves that complete that function, “he adds.

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One of the most impressive points is not only the view of the exterior deck but also the interior view of the roof, which undoubtedly deserves a separate paragraph. You don’t even have to look up to find enveloping games achieved with the use of staves from recycled oak barrels.

“The idea of ​​using staves came about because a relative of ours, Florencia Daroni, worked at the Peñaflor winery a few years ago and my father asked her if he could buy the barrels they discarded. After a process we got several through the environmental managers of the company and that is how I discovered the potential they had for architecture because they are modular, and it was then that we decided to use them for the roof of the workshop, which is assembled as coffered ceilings, it is never flat, everything is reticulated, with double curved ruled surfaces.

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To build this there is no curve even though it seems otherwise because the entire construction was made with straight lines “, says Lisandro.

The use of this recycled material, with an unconventional shape for a roof, was undoubtedly a real experiment but in a specific building, that is to say, there were almost no margins for error. Needless to say, the result was optimal.

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The openings play a fundamental role from every point of view. The windows are landscape and installed in such a way that the light enters the workplace taking into account the height of a seated person. Although they are all made of metal, the main entrance door has the integrating detail: a large oak handle.

The floor is made of smoothed concrete in a gray tone in line with the cement blocks, since the red color of the doors and windows is what breaks with the tones of the desert to give a strong and energetic visual impact.

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FUNCTIONALITY

“My father works with welding, iron, ceramics, everything you can imagine, in fact now he is sculpting wood, so he had to think of a functional place that at the same time has a totality and a unity for so many different things The two main spaces are the same because architecture also has to be able to synthesize, if one tried to build a space for everything it would be impossible, unfeasible or priceless, thus one solves a complex problem “, indicates Lisandro.

The only premise it had was to separate the spaces for the “dry” activities -painting and drawing-, from the “wet” activities -modeling and ceramics-, and that the oven function independently without being in contact with gases and the heat it generates.

To this is added an open gallery designed to work metals and other hard materials.

The end result is a workshop at the level of the artist who has already begun to inhabit it and from where, surely, the first works of this environment created from talent, knowledge and great respect and admiration for his father will soon emerge.

> THE MEGA SCULPTURE

Besides being an architect, Lisandro Vinzio Maggio, has dabbled in art and although he says that it is only “curious”, he was one of the winners of the contest called by the authorities of the
Anchipurac Park where there is already the great geometric sculpture of 6 by 6 meters chosen at that time. It was made with old metals and inside it has a pet plastic bucket. “It is a conceptualization of the relationship between man and nature. In an abstract way it tries to express the ideal balance that should exist between the anthropic and the natural. It is built with Plato’s idea of ​​balance, in this case the balance between man and his environment. It is a geometric game that pursues that end “, clarifies the artist.

It is about two cubes (Platonic solid) that are symmetrically searched without ever touching. while the waste treatment (PET) is in the main scene of the composition. The white color confuses what is support and what is not, causing the illusion of cubes in the air. The set is completed by an exposed concrete pedestal, which supports the structure at one point, thus reinforcing the idea of ​​balance.

To see more about Lisandro Vinzio Maggio

https://lvinzio.wixsite.com/website

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