If the two cross-beams at the ends of the upper slab descended, forming the main floor’s end walls, they would meet perfectly at the border of the floor slab. If the two upper girders didn’t advance twenty centimeters in a cantilever, hanging the concrete end walls and separating them from the cross-beams, there would be no space for the top guttering, and a gap would not be created on the main floor, indirectly illuminating its interior. If this level’s sides weren’t stub walls of concrete bricks, painted in black, they wouldn’t form two overlapping planes on the side facades, with a constant shadow between them, and sometimes a third intermediary plane. If the work and dining tables weren’t attached to the inside of opposite end walls, an opening in each would not be needed to illuminate the horizontal planes. If the external volumes were not aligned with the tables, the horizontal planes couldn’t be extended through to the outside. If the window frames weren’t included only on the bottom and sides of each pane, and if closing the windows didn’t just take a touch on the outside of the sill, the transparency of the ensemble would not appear barely crossed by vertical lines. If the upper fixed panes were not set slightly back from the lower panes, a gap would not be left for natural ventilation. If the bedrooms and private rooms were not placed in the building’s central strip, there would not be two large opposing rooms with continuous windows. If the window sills were not concreted, matching the lower slab, that ensemble would not form a widened U, rotated ninety degrees from the inverted U formed by the end walls and the upper slab. If the regular structure of columns, girders, beams and slabs were not subverted by the enclosures, openings, and functional volumes, could this house exist?
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Architect, MSc in Architectural Theory and Criticism, PUC-Chile, with the thesis The building doesn’t matter, and PhD candidate, PUC-Chile / UFRGS-Brazil, with a thesis on the House on Jean Mermoz. He is the editor in charge of ArchDaily Brazil’s Classics of Architecture section since 2011, having written about over a hundred of works of modern architecture, and some exploratory essays. His focus of research is the conjunction between drawings and words in the materialization of architecture.