Escape

THE PROJECT COMPRISES THE DEVELOPMENT OF BUSINESS PREMISES, EXCLUSIVE SUITES AND A BOUTIQUE-HOTEL WITHIN THE SAME COMPLEX.

THE DESIGN FEATURES A TWO-LEVEL PLINTH WHERE BUSINESS ACTIVITIES TAKE PLACE, AND A GLASS TOWER THAT HOSTS THE SUITES AND THE HOTEL. THE PLINTH ACTS AS THE MEANS OF SUPPORT OF THE TOWER, BUT ITS LIGHTNESS AND TRANSPARENCY UNDERMINE THE WIDESPREAD IDEA THAT ARCHITECTURAL SUPPORTS MUST BE HEAVY.

THE PLINTH LINES ADHERE TO THE VOLUME LIKE A CLOAK THAT SHOWS THE INNER STRUCTURE. THE RHYTHM ACHIEVED THROUGH THE PROFILES THAT ARE REFLECTED ON THE GLASS SKIN IS BROKEN WHEN THE TOWER EMERGES IN AN OUT-OF-PHASE GESTURE WHICH ACQUIRES ITS OWN CONSTRUCTIVE NATURE AND LOGIC. HOWEVER, THE RHYTHM AND SHAPE OF THE PLINTH MANIFEST AGAIN ON THE LEFT SIDE OF THE TOWER, SURROUNDING IT.

THE TWO BODIES ARE SEPARATED BY A “QUIRK” OR VERTICAL OPENING. THIS STRATEGY ALLOWS TO AVOID AN UNFORTUNATE UNION BETWEEN THE TWO BODIES, WHICH ARE CLEARLY DIFFERENT FROM EACH OTHER BOTH IN FORMAL AND FUNCTIONAL TERMS.

THE TRANSITION BETWEEN THE PLINTH AND THE TOWER DEVELOPMENT GENERATES A TRIANGULAR LOBBY. THIS LOBBY BECOMES THE POINT WHERE THE TWO SHAPES UNITE, WHERE ELEMENTS SUCH AS SOFFITS, FLAGSTONES, AND EVEN THE ELECTRIC STAIRCASE, HAVE BEEN PAINTED IN BLACK. THIS GREATLY MAGNIFIES THE GLASS SURFACES, GIVING THEM AN INTERESTING EXPRESSIVE FORCE AND A SENSE OF INDEPENDENCE NOT ONLY IN FORMAL TERMS BUT ALSO IN AESTHETIC TERMS. IT REVERSES ONE MORE TIME THE VALUES OF WHAT IS KNOWN AS MEANS OF SUPPORT AND SUPPORTED ELEMENTS.

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