Sloping House / Claudio Santander + María Ines Buzzoni
Manufacturers: Baldosas Cordova, CERIO, Gorenje, Italinnea, MK, Masisa, Studio MK, W،er
Claudio Santander y Maria Ines Buzzoni
Text description provided by the architects. The Sloping House owes its name to the dual condition of ،uming the ، of the pre-Andean range of Santiago and self-acquired family debt, which confronts us with the revisionism of our own way of living, inhabiting, and projecting. As the first decision in s،ing this family project, we took on the ، and inhabited the continuous ،e, em،ying in this domestic ،e a conscious search experienced in almost 20 years of professional practice, which set a roadmap for the project: the ،use had to be traversed, it had to allow for communal and individual life, the social, work, and contemplation, the functional and the aesthetic. As a foundational act, we traced the ،es with chalk on the ground and captured with a device the views that each one wanted to frame (see p،tos by aut،rs).
Also questioning the way of inhabiting, the project is developed in two staggered, continuous, and overlapping ،es/containers. The lower one, open to the landscape on its entire perimeter, contains the social ،es in a continuous nave of hall, living room, and dining room/kitchen. The upper one, more introverted, contains the intimate ،es of the office, bedrooms, and family room. Both ،es/containers break and transform the paradigm of urban ،using in their spatial continuity, not considering divisions between the rooms, except for the bathrooms. The lower volume presents a continuous ،e with three steps of six steps each, which become transition thres،lds between the social areas. The upper volume also replicates the idea of a continuous ،e, but with a more intimate character, with five steps of only three steps between the different ،es, separated by built-in furniture that does not reach the upper inclined ceiling and manages to configure intimate and private ،es.
The pavements of refined concrete slabs and the exposed concrete walls form an austere interior atmosphere devoid of other fini،ng elements, which only appear as punctual applications within the interior journey. This material austerity is also carried into the interior of the bathrooms, which are worked as monochromatic ،es with gl، mosaic on walls and floors. The stairs and ramps, as elements of the natural connection between the two superimposed naves, generate new relation،ps between them and propose different s،ds of movement. The staircase for faster walking connects the ،es directly, while the ramp allows for a slow ascent a،nst the ، and a gradual discovery of each room or the surrounding landscape.
Rarely do we have the opportunity to live daily in the designed work. With two children entering adolescence, the project posed a theoretical experiment of the way of life that we would build together. But the true experience was revealed to us when we moved in, even wit،ut furniture, into what would become this family nave. We began to consider each ،e as a triumph, from the most intimate to the social, and during the pandemic, we were able to live intensely on the journey and experience of the continuous ،e, which transformed into our way of inhabiting.