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architectnews · 3 years

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Memory House – Workshop, Alta Gracia Córdoba

Memory House – Workshop, Córdoba Building Development, Argentina, Argentinian Interior Architecture, Photos

Memory House – Workshop in Córdoba

16 Oct 2021

Design: Barq´s architecture workshop

Location: Alta Gracia, Córdoba, Argentina

Memory House – Workshop

“As architects, making our own House – Workshop is still a challenge, in a process of constant transformation.”

The land is located on the outskirts of the city of Alta Gracia, in a lot that is characterized by the care of the native forest. At the heart of the lot are two great Talas who were the inspiring muses of the project.

As a leitmotive, the preservation of as many trees as possible and that the house – workshop was permeated by that geography. For this, the house was arranged in the center of the lot, freeing the corner and austere materials, concrete and exposed brick were used in refined volumes.

The implantation arises from these characteristics and is planned in the shape of an L, a pavilion that corresponds to the house facing north and another pavilion adjoining the street, which is the study and workshop. Both volumes are linked through the garage and embrace the patio generating a space of containment and privacy, inspired by the cloister typology. The house has an internal patio, where trees were also kept, which separates the public area (kitchen, living room, dining room) from the private area (bedroom).

At the same time it is around a glazed corridor allowing a connection between both gardens, thus eliminating the exterior – interior visual limits. The available resources were limited, so a house of minimal dimensions but with great breadth in height was thought. Both the height and brightness of the interior patio create a wide space.

The work space that we call a workshop was an important requirement, as well as the living space, separating work from domestic life. It has double entry, from the street and from the garage. The volume closes towards the street and opens with a glazed plane towards the interior, providing light and a view of the existing grove.

The garage is open, it functions as a pivoting element between the two volumes and contains an expansion of brick floor, a meeting space guarded by the shadow of a chañar. Which implied that the design of the roof of the garage was drilled to make way for this highly prized native tree. The magic of encounters and sharing happens there. The trees are our gallery, they allow us the sun in winter and the shade in summer, generating a peaceful atmosphere.

The use of materials accompanies the idea of austerity, economy of resources and local materials. It was built with a double exposed brick wall, also showing the interior, and concrete, present in a lower beam as a plinth and an upper beam. The entrance gate is made of sheet metal and copies the pattern of the brick, generating a play of light and shadow. The rest, aluminum carpentry and dvh glass, cement enlisted on the workshop floor, wood in the house.

As Peter Eisenman mentions, “the architecture we remember is the one that never comforts us or conforms us”, thus we continue to mutate and transform our home along with the environment.

Memory House – Workshop in Córdoba, Argentina – Building Information

Architect: Barq´s architecture workshop

Contact email: [email protected] Country of Office: ARGENTINA – Construction completion year: 2016 Built area: 149 sqm Location: Alta Gracia, Córdoba, Argentina

Additional credits Architects in Charge: Arch. Astesano Cristina – Arch. Pablo Bisio Design Team: Arch. Astesano Cristina – Arch. Pablo Bisio

Photographer / Website: Gonzalo Viramonte

Memory House – Workshop, Alta Gracia Córdoba images / information received 161021

Location: Alta Gracia, Córdoba, Argentina, South America

Architecture in Argentina

Contemporary Argentina Architectural Projects

Argentina Architecture Designs – chronological list

Argentina Architecture News

Argentina Houses

Casa Rampa, Patagonia Design: Andrés Remy Arquitectos photo : Alejandro Peral Ramp House in Patagonia

Nordelta Tigre Yacht Club House, Buenos Aires Design: Estudio Ramos, architects photograph : Daniela Mac Adden Nordelta Tigre Yacht Club House

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New Ice Cream Café Building New Café Building in Córdoba

Bicentennial Civic Center in Córdoba Building Architects: GGMPU Arquitectos + Lucio Morini photograph : Claudio Manzoni Bicentennial Civic Center Córdoba Argentina

Contemporary House in Cordoba

Argentina Architect Studios

Argentine Buildings

New House Designs

Casa Nagus Manantiales

Casa MC2 Córdoba

Comments / photos for the Memory House – Workshop, Córdoba in Argentina page welcome

The post Memory House – Workshop, Alta Gracia Córdoba appeared first on e-architect.

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muntsunina · 6 years

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PH EL SALVADOR by Leonardo Guido Militello

DESCRIPTIVE MEMORY From the beginning of the project we understood the intrinsic qualities associated with this piece of urban fabric. We here deal with a rectangular space with measures that do not exceed 7.50 m x 12.00 m located practically in the heart of the square. This is a dwelling unit of the type of the row houses in the city of Buenos Aires. At the beginning of the last century it was common to build small houses with the conceptual characteristics of the “sausage house” multiplied for the depth of an urban lot. The project then rose as a challenge to customer demands whose programmatic needs far exceeded the possibilities offered by the nature of the terrain. We also had to be aware of the constraints brought by the responsibility of reforming a historic site that was protected by the law of the city of Buenos Aires. Limited to four workstations divided by only four walls, and conditioned by the small floor area, the premise of creating an interior courtyard became the alma mater of the project, following which we organized the housing, ordered the other spaces vertically upward reaching for air, light, and private visual, finishing it off with a pool deck. The decision on the choice and use of materials reflects the same search for each space to place it in the courtyard, in a complete and honest way, creating a glazed inner skin and a solid outer skin, resulting in either both its materiality and its spatial proportions and the idea of a pavilion floor, rather than a traditional house. Taken to the extreme, the intention was one of generating an ethereal skin-core into the courtyard of the house, and searching for a structural, tectonic and construction that would lead us to the idea of "disappearing" the structure and thus achieve a certain voltage determined by weightlessness based on the idea of a "floating pool" over living spaces. This idea was decisive along with that of the use of a mixed structure, with iron columns to continue the centerline of the woodwork, which is clearly opposed to the concrete volumes of marked visual presence. The search for constructive thinking, of an architecture of noble materials, and of the use of reinforced concrete, iron and glass panels, was complemented by the decision to use refractory bricks as the sole material for partitions, in view of achieving the desired aesthetic and insulation conditions. In turn we also reused elements of the pre-existing dwelling unit which refers us to the original spirit of the property, which combined with the proposed contemporary design, constitute an added value to the project. Regarding the links between elements, it is also interesting to look at this house. Since the refractory brick wall in the subtle touch on the existing wall (in line with this concrete column that supports the pool) the subtlety of the smithy of its columns in relation to the crystals, to frameless doors verticality to offer certain environments, everything makes a set of simple but delicate analysis in its composition. The project was always dominated by the constant search for natural light, but it was a search which served to form the crystal clear idea of weightlessness that the volume of concrete gave the space. This element ends by sewing the project clearly always looking for a dynamic cut prefixed to static symmetry structured plant. The movement of the housing is closely related to the courtyard and its visual crossing it vertically and spiraled from the PB, to 1P and finally to the roof. Both from the circulation and from each room of the house can see the true essence of vernacular courtyard. The visuals to the corridor are screened by a "cushion plant" provided by planters, thanks to which provides more depth to the dividing wall on a large scale. The skylight gives the only light that is controlled, illuminating the brick wall that frames the movement of the two levels. The program is reversed to what is traditionally understood as private and public space as a result of understanding the character of space to live during both day and night, creating a provision that goes private in the ground floor to the public on first floor, looking for something tall, light and visual. Description The ground floor contains two bedrooms en suite and a nearly symmetric entrance hall whose functionality can also be an office / expansion into the courtyard, which is the result of an interstitial space between the two functional suites. The floor, which is certainly where public program seeks visual light and the sky from his room and kitchen / dining room, are both connected by a bridge. The tour ends after crossing the outer circulation that connects the first terrace on a slope with respect to the second. This is a house that offers certain complexity in court, not in facility, which maintains an orderly and symmetrical linear program. In plant there are replicate circulation spaces on both levels, below the level of the pool. The remaining two wings at both levels are in substantially equal proportions. In court we verify the range of heights by proposing a dynamic of continuous and staggered run. The limitation of the size of the yard was the reason for the levels of the different terraces. The development of the stairs to the terrace should respond to consistent proportions and dimensions, thus indirectly allowing for a dynamic height in both environments while differentiating the uses on both terraces. Also noteworthy is a differentiation in the flooring, which verifies the diversity of activities in relation to the use of the terraces, one in relation to activities link with the interior of the house and another as a solarium in direct contact with the pool. Materials The equipping the house was designed with the understanding that it should only meet the minimum needs to respond to the existing current hotel demands in Buenos Aires. Beds, phones that allow for various provisions, little furniture and simple lines. All the furniture was made of wood. To meet the criteria of a sustainable house, considering that the heat loss of the crystals is a real demand for the need for light, it was decided to use DVH in virtually all mobile cloths. The fittings were performed with equipment multi-split VRV (Variable refrigerant volume) which allows control of electricity consumption. The dual flush system on the toilet is to save water consumption. All facilities are electric, with gas left only for the use of pool heating. Technically the pool was resolved with a system called "Liner" whose conditions should avoid the full potential of water filtration, whereas below this are the dining and livings room of the house. The pool must also meet minimum standards of maintenance by using automated cleaning systems imported from Europe. Elements such as access doors to the rooms, the flooring of brick, were details reminiscent of the old home. All these elements associated with the use of iron, glass and concrete in its purest form, coupled with minimal intervention of the walls have established a balance we have sought in the set. PH EL SALVADOR _MEMORIA DESCRIPTIVA Desde el inicio del proyecto se entendieron las cualidades intrínsecas que conlleva este trozo mínimo del tejido urbano. Hablamos de un espacio rectangular cuyas medidas no superan 7,50m x 12,00m ubicado prácticamente en el corazón de la manzana. Se trata de una unidad funcional de la tipología de viviendas en hilera de la ciudad de Buenos Aires. A comienzos del siglo pasado era habitual la construcción de pequeñas viviendas con las características conceptuales de la casa chorizo multiplicadas en la profundidad de un lote urbano. El proyecto surgió entonces como un desafío ante la demanda del cliente cuyas necesidades programáticas superaban ampliamente las posibilidades que la naturaleza del terreno ofrecía. Entendiendo por otro lado que las limitantes debían responder a la responsabilidad de reformar una espacio cuya huella anterior claramente estaba limitada por el código que rige en la ciudad de Buenos Aires. El proyecto tuvo que responder a las siguientes demandas por parte del cliente: “La casa deberá ser muy luminosa “. “Una gran piscina extendida en la cubierta“. “Criterios de protección al medio ambiente“. “La casa deberá respetar criterios estéticos referentes a la antigua casa PH”. “Poco mantenimiento, debido a su función de espacio hotelero”. Limitados por cuatro medianeras hacia cada uno de los lados de nuestro “área de operación”, y condicionados por la poca superficie en planta, la premisa de generar un patio interior se torna en el alma mater del proyecto, espacio a raíz del cual se organiza la vivienda, ordenando los demás espacios de manera vertical ascendente en busca de aire, luz, y visuales privadas, rematando con una piscina sostenida en la cubierta. La decisión en elección y uso de materiales responde a la misma búsqueda de volcar cada espacio hacia el patio interior de manera completa y honesta, generando una piel interior acristalada y una piel exterior sólida, dando como resultado, sea tanto por su materialidad como por su espacialidad y proporciones la idea de un pabellón habitable, más que una vivienda tradicional. Llevada al extremo la intención proyectual de generar una piel etérea hacia el patio-corazón de la vivienda, las búsquedas estructurales, de tectonicidad y constructivas nos llevaron a la idea de “hacer desaparecer” la estructura y de este modo lograr la tensión determinada por cierta ingravidez basada en la idea de “una pileta flotante” sobre los espacios habitables. Es así como fue decisiva la utilización de una estructura mixta, con columnas de hierro que continúan la línea constructiva de sus carpinterías, que claramente se oponen a la volumetría de hormigón armado de marcada presencia visual. En busca de pensar constructivamente en una arquitectura de materiales nobles, el uso del hormigón armado, el hierro y los paños acristalados, se ven complementado por la decisión de utilizar, como único material para la tabiquería, el ladrillo refractario a la vista logrando así las condiciones estéticas y aislantes deseadas. A su vez se reutilizaron elementos de la vivienda existente que remiten al espíritu original de la propiedad y su tipología, que combinados a la propuesta contemporánea de diseño, dan valor agregado al proyecto. En el cuidado de los vínculos entre elementos radica un aspecto también interesante en esta casa. Desde el muro de ladrillo refractario en el sutil contacto sobre el muro existente, en consonancia este con la columna de hormigón que da soporte a la piscina; la sutileza de la herrería de sus columnas en relación a los cristales; hasta las puertas sin marco que ofrecen una verticalidad a ciertos ambientes, todo hace a un conjunto de simple factura pero de delicado análisis en su composición. En el proyecto siempre prevaleció la búsqueda constante de luz natural, cuya materialización cristalina sirvió para estructurar la idea de ingravidez que el volumen de hormigón le otorgó al espacio. Este elemento termina por coser el proyecto que claramente busca siempre una dinámica en corte antepuesta a la estática simetría estructurada en planta. La circulación de la vivienda está íntimamente relacionada al patio y sus visuales, recorriéndolo en forma vertical y espiralada desde la PB, pasando por 1P y finalmente hacia la cubierta. Tanto desde la circulación como desde cada ambiente de la casa se puede visualizar dicho patio de cierta esencia vernácula. Las visuales hacia el pasillo se encuentran tamizadas por un “colchón vegetal” provisto por maceteros, gracias a los cuales proporcionan un nivel más de profundidad en dirección al muro medianero de gran escala. La lucarna le otorga la única luz controlada al conjunto, bañando así el muro de ladrillo que enmarca la circulación de los dos niveles. El programa aparece invertido a lo que tradicionalmente se entiende como espacio público y privado, como consecuencia de entender las cualidades del espacio para habitar diurno y otro nocturno, generando una disposición que va de lo privado en planta baja, a lo público en planta alta, en busca de altura, luz y visuales. La planta baja contiene dos habitaciones en suite prácticamente simétricas y un hall de acceso cuya funcionalidad además permite ser un office / expansión hacia al patio, siendo este el espacio resultado de un intersticio funcional entre ambas suites. La planta alta, cuyo programa es ciertamente público, busca la luz y las visuales del cielo desde su estar y cocina /comedor, ambos conectados a través de un puente. El recorrido concluye una vez atravesado la circulación exterior que comunica a la primera terraza en desnivel respecto a la segunda. Es una casa que ofrece cierta complejidad en corte, no así en planta, la cual mantiene una linealidad programática ordenada y simétrica. En planta los espacios circulatorios se replican en ambos niveles, debajo del volumen de la piscina. El resto de las dos alas en ambos niveles son de proporciones prácticamente iguales. En corte se verifican la diversidad de alturas proponiendo una dinámica de recorrido continuo y escalonado. La limitante de la dimensión del patio fue el motivo por el cual los niveles de las terrazas difieren. El desarrollo de la escalera hacia la terraza debía responder a proporciones y dimensiones coherentes, esto permitió indirectamente una dinámica de alturas en ambos ambientes y a la vez diferenciar los usos en ambas terrazas. Se intencionó con notoriedad una diferenciación en los solados, donde se verifica la diversidad de actividades en relación al usos de las terrazas, uno más en relación a actividades de vinculo con el interior de la casa y otra como solárium en contacto directo con la piscina. Se diseñaron, además, el equipamiento de la casa entendiendo que debía solo cumplir con una necesidad mínimas ante la respuesta a la demanda hotelera existente hoy en Buenos Aires. Camas móviles que permiten diversas disposiciones, pocos muebles de líneas y de simples. Todos los muebles fueron realizados con madera paraíso. Para resolver los criterios de casa sustentable, considerando que la pérdida térmica de los cristales es una realidad demanda por la necesidad de luz, se resolvió utilizar DVH en prácticamente todos los paños móviles. El acondicionamientos fue realizado con equipos multisplit de VRV (volumen de refrigeración variable) lo que permite el control del consumo eléctrico. Los sistemas de doble descarga del inodoro para el ahorro en el consumo de agua. Todas sus instalaciones son eléctricas, dejando el gas solo para el uso de la climatización de la piscina. Técnicamente la piscina se resolvió con un sistema llamado “Liner” cuyas condiciones debían evitar en el máximo de sus posibilidades la filtración de agua, considerando que debajo de esta se encuentran el comedor y living de la casa. La piscina debía también responder a criterios de mínimo mantenimiento, para ello se utilizo sistemas de limpieza automatizada importada de Europa. La pregunta recurrente de un profesional ante la intervención de una obra existente es, generalmente, como lograr ese vínculo entre lo pasado y lo presente. Aquí nos hemos encontrado con esta disyuntiva, la cual debía claramente tener en cuenta un tejido colectivo, tratándose de viviendas en hilera, y una huella muy fuerte de la casa PH existente. Entendiendo el tejido de una casa en hilera como una sucesión de espacios caóticos, por la complejidad que hoy radica en ellos, solo nos hemos limitado a mantener la línea del muro existente de altura delimitada por una moldura como único factor vinculante con el conjunto. Se decidió mantener lo disposición original de la casa respectando la pisada original y casi con las mismas proporciones que la actual intervención. Elementos como las puertas de acceso a las habitaciones, el solado de ladrillo, fueron detalles de reminiscencia de la casa anterior. Todos estos elementos vinculados a la utilización del hierro, cristal y hormigón en su forma máspura, sumado a la intervención

#concrete architecture #hospitality architecture #buenos aires #argentina #iron beams #architecture and glass

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cancersfakianakis1 · 7 years

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Predicting liver SBRT eligibility and plan quality for VMAT and 4π plans

Abstract

Background

It is useful to predict planned dosimetry and determine the eligibility of a liver cancer patient for SBRT treatment using knowledge based planning (KBP). We compare the predictive accuracy using the overlap volume histogram (OVH) and statistical voxel dose learning (SVDL) KBP prediction models for coplanar VMAT to non-coplanar 4π radiotherapy plans.

Methods

In this study, 21 liver SBRT cases were selected, which were initially treated using coplanar VMAT plans. They were then re-planned using 4π IMRT plans with 20 inversely optimized non-coplanar beams. OVH was calculated by expanding the planning target volume (PTV) and then plotting the percent overlap volume v with the liver vs. r v , the expansion distance. SVDL calculated the distance to the PTV for all liver voxels and bins the voxels of the same distance. Their dose information is approximated by either taking the median or using a skew-normal or non-parametric fit, which was then applied to voxels of unknown dose for each patient in a leave-one-out test. The liver volume receiving less than 15 Gy (V<15Gy), DVHs, and 3D dose distributions were predicted and compared between the prediction models and planning methods.

Results

On average, V<15Gy was predicted within 5%. SVDL was more accurate than OVH and able to predict DVH and 3D dose distributions. Median SVDL yielded predictive errors similar or lower than the fitting methods and is more computationally efficient. Prediction of the 4π dose was more accurate compared to VMAT for all prediction methods, with significant (p < 0.05) results except for OVH predicting liver V<15Gy (p = 0.063).

Conclusions

In addition to evaluating plan quality, KBP is useful to automatically determine the patient eligibility for liver SBRT and quantify the dosimetric gains from non-coplanar 4π plans. The two here analyzed dose prediction methods performed more accurately for the 4π plans than VMAT.

http://ift.tt/2q6Vtxj

#Oncology-Sfakianakis

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zero06iranosaurusrex · 1 year

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me when cant spoil my dvh au anymore since it already too much: takes something that beyond the au's expansion lore ...guess i need to lay down

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architectnews · 3 years

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Artist Studio, Jujuy Argentina

Artist Studio, Córdoba Modern Studio Home, Argentina Real Estate Design, South American Architecture, Photos

3 Rocks in the Landscape, Jujuy

15 Oct 2021

Design: Barq´s architecture workshop

Location: Los Nogales, Jujuy, Argentina

3 Rocks in the Landscape

This project was born in 2017 with the commission to design three cabins of different dimensions to be built in the town of Los Nogales, 15 km from San Salvador de Jujuy. As designers of a mountain city (Alta Gracia, Córdoba), the landscape is a great component of our works and is a key piece when creating architecture. In this case it is a natural, impressive landscape, the mountain as an inspiring muse, the whole.

The slogan for Cabañas Los Nidos was clear 3 cabins, S (studio), M (1 bedroom) and L (2 bedrooms), simplicity, little maintenance and use the site’s own resources.

The implantation was the starting point for the further development of the idea, planting 3 rocks that blend in with their surroundings and respect the characteristics of the terrain, the mountain did the rest. Its location was accompanying the natural slope of the land, taking into account orientation, views and privacy, as key axes. In the upper part the parking lot and cabin S are located, then continuing with the slope the cabin M and L.

These elements are characterized by being a monolithic piece, that is to say, all the facades, including the roof, are made of the same material, which allows consolidating a timeless, austere and local architecture. The rock of the place is what covers these three elements, making them unique, together with the use of local resources. This is achieved through a study and geometric synthesis, where the folds and diagonals in all its surfaces, allow the creation of a single element, a rock built by many rocks.

Campos Baeza, in his 1997 publication “Cajas, cajitas y cajones” illustrates us in terms of discerning between the stereotomic and the tectonic in architecture. We present here a forceful decision to opt for the stereotomic, with a compact constructive materiality, an architecture that seeks light, pierces its walls with contained diaphragms that allow luminosity to flood its peaceful corners. It is the architecture of the basement, in short, the eternal appropriation of the cave.

Regarding the construction aspects, the earthquake-resistant structure is made up of a foundation of stalls from h ° to ° and porticoes from hºaº. The materials used were hollow ceramic brick, exposed reinforced concrete slabs and PVC carpentry in brown with wood-like veins. These accompany the ocher tonality of the slabs that were used to cover both the exterior walls and the roof. The glasses are of the DVH type.

Each of the units contains an expansion to the outside, with a large window. The other openings were designed for a particular view of their surroundings, a cutout of the landscape, maintaining privacy from each other.

The local workmanship, with generations of stone work and the material available in nature made it possible for the idea of an abstract and timeless image to materialize and blend perfectly with its surroundings.

Artist Studio in Jujuy, Argentinaa – Building Information

General information Project Name: Cabañas “Los Nidos” Architecture Office: Barq´s architecture workshop Contact email: [email protected] Country of Office: ARGENTINA

Construction completion year: 2018 Built area: 215 sqm Location: Los Nogales, Jujuy, Argentina

Additional credits Architects in Charge: Arch. Astesano Cristina – Arch. Pablo Bisio Design Team: Arch. Astesano Cristina – Arch. Pablo Bisio Site management: Ing. Viviana Ortiz Engineering: Ing. Viviana Ortiz

Media provider Photography Credits: Mavi Habil Photographer’s E-mail: [email protected]

Artist Studio, Jujuy Argentina images / information received 151021

Location: Los Nogales, Jujuy, Argentina, South America

Architecture in Argentina

Contemporary Argentina Architectural Projects

Argentina Architecture Designs – chronological list

Argentina Architecture News

Argentina Houses

Casa Rampa, Patagonia Design: Andrés Remy Arquitectos photo : Alejandro Peral Ramp House in Patagonia

Nordelta Tigre Yacht Club House, Buenos Aires Design: Estudio Ramos, architects photograph : Daniela Mac Adden Nordelta Tigre Yacht Club House

Córdoba Architecture

New Ice Cream Café Building New Café Building in Córdoba

Bicentennial Civic Center in Córdoba Building Architects: GGMPU Arquitectos + Lucio Morini photograph : Claudio Manzoni Bicentennial Civic Center Córdoba Argentina

Contemporary House in Cordoba

Argentina Architect Studios

Argentine Buildings

New House Designs

Casa Nagus Manantiales

Casa MC2 Córdoba

Comments / photos for the Artist Studio, Jujuy in Argentina page welcome

The post Artist Studio, Jujuy Argentina appeared first on e-architect.

#e-architect

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