Centro Cultural Gonzalo "Gonchi" Rodriguez

DESIGN: 2020
STATUS: Konkurranse
STED: Montevideo, Uruguay
PROGRAM: Kultursenter, museum og konferansesenter
OPPDRAGSGIVER: Gonzalo Rodriguez Foundation, FGR

Centro Cultural Gonchi Rodriguez

Centro Gonchi Rodriguez next to El Tajamar

Centro Cultural Gonzalo "Gonchi" Rodriguez
Centro Cultural Gonchi Rodriguez

DESIGN: 2020
STATUS: Konkurranse
STED: Montevideo, Uruguay
PROGRAM: Kultursenter, museum og konferansesenter
OPPDRAGSGIVER: Gonzalo Rodriguez Foundation, FGR
Centro Gonchi Rodriguez next to El Tajamar

The geometric guidelines that rule the design of the pavilion for the “ Gonchi ” Rodríguez Foundation ( FGR ), begin with the handling of circumference sections with focal points surrounding the area of ​​action referred by the bases. The choice of this family of curves is not random, but corresponds to the "artificial excavation" that involves the recovery of the pond projected originally by Scasso , a challenge common to the contestants in the competition.

Entrance to the culture center
Entrance to the culture center

However, the gestated form is conceptually self-sufficient, consistent with its own logic. We could say that its generation is traversed by a kind of autopoiesis in its journey; which collects, the geometric families of automobile displacement at its peak: the overpass at the chicane.

 

Towards the entrance across the garden
Towards the entrance across the garden

This set of focal points, with a radius master of 25 meters, and a secondary 15 generate the path of re-construction concept of the amphitheater in a game of circular parallel, both as a dialogue towards traces produced by C . Thays in a larger-scale arc towards the rest of the green spaces (and beyond the polygon delimited by the competition

Siteplan
Siteplan

Regarding the highlight of Centro “ Gonchi ” Rodríguez in the program of the project, the inclusion of the three preserved cars of the pilot stands out, placed in successive virtual lanes emulated on the floor, reinforcing the sense of form as a kind of architectural track . The location of the cars will be arranged in historical progression, as well as the pilot's overalls on the north façade of level 12.25, and their trophies in equipment attached to the structure on the inner face of the south  and north façade

Inside the museum honoring Gonchi
Inside the museum honoring Gonchi

The use of a system of curves inscribed in a parallelepiped, arranged by the Permanent Special Commission, produces a volume capable of respecting the conservation of plant species, as well as generating a dynamic phenomenology inside. Underlying this strategy is that a complex spatial form will be supported by simple, repetitive and adaptive technical resources (like Le Corbusier's views on the chassis-body duality, but in a post-Fordist key).

Inside the Vial Moility Museum
Inside the Vial Moility Museum

In turn, the curves enable the construction of a spatial narrative of access and promises that entail a subtle game in the making of facades (opening the way to the entrance, as well as fencing the exterior-interior threshold when it becomes necessary to the utilitarian requirements).

Concept development
Concept development

The curvilinear spatial diagram is accompanied by a structural system of laminated wood portics, which responds to the modulus of the radius play of the resulting circumference sections. These act not only as the supporting structure of the building, but also as fastening elements for the openings and thermo glass panels.

Proposal on site
Proposal on site

Likewise, the CTL slab system offers an optimal own weight, as well as a wide resistance for the habitable roof, an area of ​​contemplation that develops as a logical consequence of the interior path (and that implies a fundamental poetic complement to the programmatic order).

Plans, section and elevation
Plans, section and elevation

On the other hand, the visuall openness of the west façade confers a sense of continuity towards the horizon, giving the space a strong poetic charge. The materials constitute a non-strident palette, which is intended not to compete with the Dudokian architecture of the existing pavilion. Even the tilt games of the metal parasols establish an abstract dialogue with the steep thatch of the modern building. This skin and its exterior texture go from simple verticals to ruled surfaces that make use of parametric elaboration: upholding the thesis that the idea of ​​spatial party and project by code can be compatible genealogies.