Architectural Cases

Mona Hatoum's captivating exhibition, titled 'Over, Under, and In Between,' at the Fondazione Prada in Milan, invites viewers into a multi-sensory journey through a series of evocative installations. Her artwork delves into profound themes of human connection, societal constraints, and global fluidity, utilizing diverse materials like hand-blown glass and kinetic metal. The exhibition, housed within the historic Cisterna building, which once functioned as an alcohol distillery, leverages the unique architectural volume to create an immersive experience that resonates deeply with its audience.

Upon entering the Cisterna, visitors are greeted by a delicate celestial display: numerous hand-blown glass spheres suspended overhead, meticulously arranged to resemble a sprawling spider's web. This recurring motif in Hatoum's artistic practice serves as a potent symbol. It simultaneously suggests the intricate bonds that tie individuals together, forming a sense of belonging and community, while also hinting at the potential for entanglement, isolation, and neglect. Hatoum herself views this overhead web as possessing a cosmic significance, with the luminous glass orbs evoking both the fragile beauty of dewdrops and the vast, interconnected tapestry of the universe. This duality underscores the complex nature of existence and relationships.

Further into the exhibition, the central space features an expansive installation on the concrete floor. Here, a multitude of translucent red glass spheres are meticulously placed to form a world map. Significantly, these spheres are arranged without borders, symbolizing the artist's commentary on the artificiality of political and geographical divisions. The deliberate absence of fixed boundaries highlights a desire for a more unified global perspective. The spheres, numbering over 30,000, are not permanently affixed, suggesting the transient and undefined nature of territories and perhaps the constant flux of geopolitical landscapes. Hatoum also subtly references the Gall-Peters projection map, a cartographic representation known for accurately depicting land area proportions but often seen as distorting shapes. This reference alludes to the power dynamics and historical biases inherent in the portrayal of various regions, particularly making Africa, South America, and Southeast Asia appear smaller than their true size, thereby questioning dominant narratives and global hierarchies.

The exhibition culminates with a dynamic kinetic metal structure. This impressive installation consists of nine levels of open, stacked cubes, mimicking the skeletal framework of scaffolding or a nascent building. Initially appearing static, the structure soon begins its mesmerizing dance, oscillating between a controlled collapse and a majestic re-erection, powered by hidden motors. The accompanying sounds of creaking and clanking amplify the organic nature of its movements, as it sways and zigs-zags with an almost human-like quality. After reaching its full height of 8.6 meters, it gracefully returns to its original state, completing its performance. For Hatoum, these open cubes are more than mere geometric forms; they embody feelings of unease, claustrophobia, and the pervasive sense of being trapped. The installation brilliantly captures the endless tension between opposing human conditions, symbolizing the continuous cycle of rising, falling, and reforming that characterizes both individual experience and broader societal structures.

Mona Hatoum's 'Over, Under, and In Between' at Fondazione Prada offers a compelling exploration of interconnectedness, boundaries, and the human condition. Through delicate glass constellations, a borderless global map, and a mesmerizing kinetic sculpture, the exhibition transforms the historical Cisterna building into a space of profound reflection, challenging perceptions and inviting contemplation on our place within a complex world.

In the heart of Segovia's Riaza Mountains, a remarkable architectural endeavor by Estudio Veintidós has breathed new life into what was once a dilapidated rural stable. This ambitious project, aptly named 'Emptied House,' reimagines the traditional structure as a seasonal sanctuary, seamlessly blending historical remnants with contemporary design principles. The transformation stands as a testament to innovative renovation, creating a dwelling that respects its origins while offering a refreshing escape.

The conceptual core of the 'Emptied House' revolves around the creation of an expansive central void. This ingenious design choice involved meticulously clearing the existing internal framework, thus forming a serene courtyard. This open-air space serves as the primary organizational element for the residence, dictating the flow of domestic activities while simultaneously ensuring abundant natural light, optimal ventilation, and a direct connection to the outdoors. A distinctive feature within this courtyard is a narrow, elongated pool, thoughtfully situated over the historical footprint of a water trough. This aquatic element not only adds a touch of tranquility but also plays a crucial role in regulating the microclimate of the home. Furthermore, the courtyard's strategic positioning acts as a protective buffer, safeguarding the dwelling's access to light and air from potential future developments on neighboring properties.

Flanking this central courtyard are three distinct gabled pavilions, each contributing to the home's unique silhouette. These new structural additions are interconnected visually through strategically placed skylights, allowing sunlight to permeate deep within the interiors. Entry to the residence is granted via an open-air passage that leads to the initial pavilion, which houses the primary living areas. The contemporary construction gracefully perches atop the time-worn existing walls, resulting in varied setbacks along each facade. These subtle differentiations subtly hint at the internal arrangement of the home to outside observers. Each pavilion culminates in a skylight, illuminating the attic spaces below, with the third pavilion ingeniously conceived as a hollow tower. This vertical element serves as a captivating viewpoint, offering panoramic vistas of the surrounding natural landscape. Its form subtly echoes the nearby Romanesque church bell tower, establishing a harmonious visual dialogue with the architectural heritage of the village.

The interior circulation of the 'Emptied House' is facilitated by a permeable ambulatory that encircles the central courtyard. This pathway is equipped with expansive joinery that not only provides access to various rooms but also features retractable staircases leading to the attic areas. Within the main living space, a substantial opening carved into the rammed earth wall establishes a compelling visual link between the intimate courtyard and the expansive, distant scenery. To honor and preserve the historical integrity of the structure, sections of the original rammed earth that had succumbed to degradation were meticulously stabilized and meticulously finished with a lime mortar, a technique traditionally employed in the region.

A fundamental tenet of this renovation project was the pursuit of material continuity, harmonizing the existing and newly introduced architectural components. The timeworn stone and rammed earth walls underwent careful consolidation through traditional lime-based pointing methods, a practice deeply rooted in the local building traditions. This approach was then extended to the new thermal clay facades, creating a unified surface where the subtle variations between the older and newer construction phases are discernible as layers of history rather than stark contrasts. The newly added architectural elements are supported by a sophisticated mixed structural system, incorporating concrete, timber, and steel. This system was meticulously engineered to integrate seamlessly with the preserved walls, effectively addressing any issues of settlement, deformation, or material loss that might arise.

Estudio Veintidós meticulously incorporated a series of passive bioclimatic strategies to enhance the environmental performance of the 'Emptied House.' These thoughtful considerations include the implementation of a radiant floor system that directly interacts with the ground, a continuous insulated interior envelope to maintain thermal efficiency, a rainwater harvesting system, and the strategic utilization of stack ventilation. The latter is achieved through the double-height bedroom volumes and the open courtyard, promoting natural airflow. The courtyard's pool further contributes to the home's sustainability by acting as a hygrothermal regulator, effectively moderating both temperature and humidity, and thereby enhancing the dwelling's seasonal adaptability. Through a thoughtful process of selective emptying, meticulous material integration, and precisely calibrated openings, the 'Emptied House' redefines a rural ruin as a dynamic seasonal refuge. The project skillfully positions the dwelling as an observatory, acutely attuned to climatic phenomena and the majestic mountain landscape that surrounds it. This creates a domestic environment profoundly shaped and enriched by the interplay of light, air, and the ever-changing rhythms of the seasons.