15 TERRITORIOS TERRITORIES Casa Vernécula Vernacular Hou: Casa Adaptada Adapted Hous: Casa Refugio Shelter Howse Listade de obras. List of works 73 ECONOMIAS ECONOMIES casiCasa Almost House 16 22 30 aa Casa Prefabricada Prefabricated House Casa Mereancia Commodity House Listado de obras. List of works — 117 DISPUTAS STRUGGLES Casa Tomada Seized House Casa Impuesta Imposed House Casa Reclamada ® LUstade de obras List of works — ne 126 aimed House — 132 136 7a 78 aa 90 43 DENSIDADES DENSITIES casa Colectiva Collective House 4g Casa Seriada Serialized House ——_ 52. asa Comunitaria Communal House — 60 Listada de obras. List of work et 93 SINGULARIDADES SINGULARITIES Casa Experimento Experimental House — 94 Casa Manifiesto Manifesto House 100 Casa Fantasia Fantasy House —— 106 Uistade de obras List of works. ————_ 112 139 TEMPORALIDADES TEMPORALITIES Casa Dindmica Dynamic House —— 140 Casa Reciciada Recycled House — 146 Casa Destruida Destroyed House — 182 158 Listade de obras List of works| a cASA CHILENA mAceNES DOMESTICAS solo hay una pequefta parte de la arquitectura que pertenece a arte: el monumento funerarioy el mo- Pimento conmemorativo.Todo lo demas, lo que sirve para un fin, debe quedar excluido del reino del arte. ‘Selo cuando se haya superado el gran malentendido, de que el arte es algo que puede adoptarse para un fin, sélo cuando haya desaparecido del vocabulario de los pueblos el engafioso lema arte aplicado, sélo enton- ces tendremos la arquitectura de nuestro tiempo. Adolf Loos, Arquitectura, 19102 Para Adolf Loos, uno de los padres de la arquitectura moderna, la casa era una forma de arquitectura que no entraba en la categoria del arte. En el argumento de este reconocido arquitecto austriaco su condicién intrinsecamente funcional ~posibilitar y proteger la vida privada- la alejaba de la inutilidad que debia tener el objeto artistico. Pero la casa no s6lo se caracteriza por ser itil. También s@ define por esa inusual caracteristica de aparecer ‘en miltiples situaciones -territoriales, tipolégicas, econémicas- y aiin asi seguir siendo entendida como tuna casa. Si hay algo que la identifica es su condicién ‘miltiple. De hecho, a pesar de la diversidad de formas en las que puede manifestarse, rara vez dudamos que luna casa sea una casa; mas atin, a pesar de nuestras diferencias, todos vivimos en alguna forma de casa. Alpriorizar su uso cotidiano, su condicién literalmente “doméstica’ la casa pone constantemente en duda 'ajerarquia artistica de la arquitectura. En la casa, la ‘arquitectura se aleja del arte mientras se acerca a la Gomesticidad. Asi, independiente de si es arte 0 no, 10 {Gus importa es que si todos vivimos en alguna forma Gecasa,a través de ella todos nos relacionamos con laarquitectura, CHILEAN HOUSE DOMESTIC IMAGE: Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art. Only once we overcome the great misunderstanding that art is something that can ‘be adopted for an end, only once the deceitful catch-phrase of ‘applied-art’has vanished from the vocabulary of the people; only then we will have an. architecture of our times, Adolf Loos, “Architecture” For Adolf Loos, one of the fathers of modern architecture, the house was a type of architecture that did not fall in the category of art. The well: known Austrian architect claimed that the inherently functional status of the house—enabling and protecting private life—distanced it from the selessness of the artistic object. But a house is not only characterized by its functionality. Its also set apart by that unusual trait wherein it can feature in multiple situations— topographic, typological, economic—yet remain unmistakably a house. if there is something that is this condition of multiplicity. in fact, despite the diverse ways in which it can manifest itself, we rarely doubt a house to be a house; moreover, differences aside, we all ive in some form of house. Prioritizing its daily use, literally its ‘domestic’ condition, the house constantly questions architecture's artistic hierarchy. In the house, architecture withdraws from art to approach domesticity. Thus, regardless of whether it is art or not what matters is that, if we all live in some form. of house, we all end up engaging with architecture.———E 40. casa oniLENA Para Walter Benjamin, sin embargo, ese estado de distraccién ~de uso 0 habito con que se perciben los edificios y construcciones- era la contraparte de la atencién éptica que la arquitectura también posibilta ‘Mas adn, era esa doble condicién la que, en el argu- mento de este filésofo alemén de origen judio, posicio- rnaba a la arquitectura en una relacién con las masas ue ningun otro arte podia alcanzar®. Para Benjamin, {a arquitectura era un arte con utilidad, un objeto material que, sise le pone atencién mas alld de su Uso, permite apreciar la cultura que transmite. En suma, un objeto cultural Exponer arquitectura en un centro cultural permite abstraerse de la discusién categorica -sies arte o no~ para centrarse en su condiciOn de objeto cultural: el de un prisma que refieja ¢ ilumina a la sociedad que lo produce. La casa es uno de esos objetos culturales y,a través de ella, la arquitectura se transforma en un lente para mirar ala sociedad. Pero no todas las casas sirven como lentes. Las se- _gundas viviendas por ejemplo (que durante las ditimas ‘res décadas han impulsado a “una pequenia parte de la arquitectura” chilena al reconocimiento internacional), no se ven enfrentadas a los requerimientos utilitarios que tienen aquellas casas en las que vivimos todos los dias. De ahi que se hayan transformado en el territorio perfecto para la experimentacién arquitecténica, acer- candolas mas a una vocacién estética y de distincion social que a una funcién doméstica. A fin de cuentas, y ‘mas allé de las notables caracteristicas arquitecténicas, ‘que muchas de ellas presentan, las segundas viviendas chilenas poco refiejan a la sociedad que las produce. No siempre cumplen la doble condici6n a la que Benjamin pela: aquella arquitectura que claramente sirve a un Propésito y, a la vez, permite una observacién atenta, Desde esa perspectiva de la casa como objeto cultu- ral, Casa chilena: imagenes domésticas es una exposi- cién que busca mostrar las diversas expresiones que fa casa tiene en nuestro pals. A través de representa- For Walter Benjamin, however, this state of distraction—of use or from habit by which buildings and constructions are perceived—was the counterpart of the optical attention that architecture enabled, Furthermore, as the German Jewish philosopher sserted, it was this double condition what upheld architecture in a unique position regarding its relationship to the masses, unattainable by any other artform. For Benjamin, architecture was an art with usefulness, a material object that, if scrutinized beyond its utility, allowed for an appreciation of the culture it conveyed. In sum, a cultural object. To exhibit architecture in a cultural center allows us to depart from the categorical debate—whether architecture is an art or not—to focus on its status asa cultural object: as a prism that reflects and illuminates the society that produces it. The house is one of such cultural objects, and through it, architecture turns into a lens to look at society. ‘Yet not all houses can act as lenses. Holiday homes, for instance (which for a good part of the past three decades have impelled "a very small part of Chilean architecture” to international recognition), do not face the utilitarian requirements of our everyday homes. Hence, their transformation into an ideal territory for architectural experimentation, drawing them closer to fulfilling an aesthetical and socially- differentiating function than a domestic one. After all, and beyond the remarkable architectural features ‘many of them exhibit, Chilean holiday homes scarcely reflect the society that produces them. They fail to ‘consistently satisfy Benjamin's double function: that of an architecture that clearly serves a purpose while, simultaneously, enabling an attentive gaze. From this perspective of the house as a cultural object, Chilean House: Domestic images is an exhibition that seeks to display the various expressions the house assumes within our country. By means of representing a large number of houses designed forjpn atenta de las distintas formas de vida domés- = ‘en Chile, dando cuenta de la diversidad cultural, lugares donde viven los inmigrantes que hoy enrique- ese asa chilena: imagenes domésticas se organiza en base a seis grandes temas que representan aspectos a los ‘ue la casa debe responder. Territorios presenta las diversas formas en que la adaptacién ala geografia ha determinado modalidades especificas para la casa. La seccién sobre Densidades observa aquellas casas en las cuales la concentracién es clave, permitiendo formas de vida comunitarias y en su mayoria urbanas. Economias se enfoca en aquellas casas determinadas Por a disponibilidad de recursos, mostrando que la ‘@pacidad de adquirir valor de mercado y el ahorro nos procesos y materiales de construccién son dos ©2ras dela misma moneda. La secci6n sobre Singula- ‘'dades se concentra en aquellas casas pensadas para ‘epresentar identidades particulares ~desde la del Srauitecto a la de sus duefios- por medio de objetos Sue aspiran a servir para algo mas que vivir en ellos. = ” everyday use, the exhibition enables an attentive ‘observation of the different forms of domestic ife in Chile, accounting for the cultural, territorial, and Social diversity within national borders, Encompassing ‘most of the Chilean territory, from the northern regions to Antarctica, and across the Chilean islands, Chilean House demonstrates that the geographical diversity of our country is coupled with the need to invent ways of adapting to the climate and landscape. From individual dwellings to big collective housing buildings, this exhibition also presents the substantial variety of typologies we Chileans inhabit; therefore, illustrating the versatility of this cultural object. Finally, by going from the first representations of houses in Chile to recent projects, Chilean House Proposes a visual journey through the history of our Country, with the house as its guide. This not only enables us to grasp different moments in time, but also travel from the vernacular to the industrial, from the homes of the first inhabitants of this territory, preceding its conquest, to the places where immigrants who enrich our culture inhabit today. Chilean House: Domestic images is organized around six major themes that illustrate aspects that the house must deal with. Territories presents the various ways in which geographical adaptation has determined specific modalities for the house. The section addressing Densities looks at those dwellings in which concentration is key, facilitating communal forms of life and located mostly within urban ‘environments. Economies focuses on those houses shaped by the availability of resources, evincing that ‘their capacity to rise in market value and the savings in construction processes and materials are two sides ‘of the same coin. The section on Singularities focuses ‘on those houses designed to represent particular12 cama cniLENA Len House El capitulo sobre las Disputas muestra a la casa como. un bien por el cual luchar. Finalmente, Temporalidades expone aquellas casas que se transforman, permitien- do observar la evolucién de las vidas de sus ocupantes, os nuevos usos a los que se adaptan o, incluso, su desaparicion por eventos catastréficos. Cada uno de estos seis capitulos se conforma por tres categorias en base 2 casos de estudio paradigmaticos que serviran como prismas para apreciar la variedad de formas que asume la casa chilena. Cada categoria est4 definida por un adjetivo que no sélo la identifica, sino que también permite cualificar a la casa. Territo- rios comprende a la casa vernacula, la casa adaptada y la casa refugio. Densidades incluye las categorias de casa colectiva, casa seriada y casa comunitaria. Econo- mias considera la casa mercancia, la casa prefabricada y la casi casa. Singularidades se organiza en torno ala ‘casa manifiesto, la casa experimento y la casa fantasia. Disputas est compuesta por la casa tomada, la casa puesta y la casa reclamada. Temporalidades, por Liltimo, est compuesto por la casa dindmica, la casa reciclada y la casa destruida. El montaje, entonces, se lordena en base a estos seis temas, dieciocho catego- rias, cerca de cien casos y mas de trescientas piezas que pretenden exponer como son las casas donde vivimos os chilenos. La exposicién considera a la casa como un objeto cul- tural que es constantemente representado en el arte, Jos medios y en sus archivos, ya sea como metafora de la vida humana, como evidencia de distintas reali- dades sociales 0 bien como espejo de las diversas cul- turas que componen nuestra sociedad. En ese marco, se han reunido distintas materialidades y formatos de visualizacion que histéricamente han registrado y representado arquetipos y escenas domésticas en Chile: Fotografias, dibujos, pinturas, videos, peliculas, recortes 0 reportajes de prensa, objetos, o maquetas a escala y a tamafio real. Intentando mantener las condiciones particulares de cada caso (en lugar de homotogarios), las imagenes domésticas que allowing us to contemplate the evolving lives of thelr ‘occupants, the new uses the house becomes subject to, and even its disappearance after the occurrence of catastrophic events, Each of the six chapters is in turn subdivided into three categories, based on paradigmatic case studies that will perform as prisms through which to appreciate the variety of forms that the Chilean house assumes, Each category is defined by an adjective that not only identifies but also attributes qualities to the house. Territories consists of the ‘vernacular house, the ‘adapted house; and the ‘shelter house’ Densities includes the categories of ‘collective house; serialized house; and ‘communal house’ Economies considers the ‘commodity house; the ‘prefabricated house’ and the ‘almost house’ Singularities is organized around the ‘manifesto house; the ‘experimental house’ and the ‘fantasy house’ Struggles consists of the ‘seized house; the ‘imposed house; and the ‘reclaimed house Temporalites, finally, is made up of the ‘dynamic house; the ‘recycled house; and the ‘destroyed house! ‘The exhibition's display is ordered following these six chapters, eighteen categories, more than one hundred cases, and about three hundred items that aim to portray the houses in which we Chileans live. The exhibition considers the house as a cultural ‘object that is constantly represented in art, media and their archives, either as a metaphor of human life, a5 evidence of different social realities, or as a mirror of the diverse cultures that make up our society. Within this context, several materialities and visualization formats have been gathered, which have historically registered and represented archetypes and domestic ‘scenes in Chile: photographs, drawings, paintings, videos, films, newspaper clippings or press reports, objects, scale and full-size models. in an attempt to ‘maintain the particular condition of each case study (as ‘opposed to homogenizing them), the domestic images that make up the exhibition seek to reveal the diversity that coalesces under the concept of the house.— nen la muestra buscan hacer explicita la diver. cen 0 de casa logra aglutinar. ere pen la presentan; no [a reproducen sino més bien coreiageemreneraeeeye ree ee Curadores: Pablo Brugnoll Francisco Diaz y Amari Peliowski + Adolf Loos, "Architecture" (1916). In: Yehuda Safran, Wilfried Wane (eds) Architecture of Adolf Loos: (London: Arts Council, 2987) p.208, 2 Walter Benjamin, “The Work of Art in the. e in the Age of Mechanical ereduction 936). En: Walter Benjamin, The work of atin da cannot eoroductty and ther Wings on pad Cambri Mac The Belknap Press of Harvard Uiversity Wie Bey Benjamin, The rigorous study of art” (2932). En: Ibid. a 13 Albeit, as Benjamin himself posited, these images do ot represent architecture but rather present it; they do not re-produce architecture, they produce it in the first place. * After all, architecture comprises not only buildings but their documentary records, memories, arch es, interpretations and representations as wel and is produced not only by architects but by artists, journalists, historians and even ordinary people. Thus, ‘more than buildings or the work of architects, Chilean house seeks to exhibit architecture by means of its domestic images, Curators: Pablo Brugnoli, Francisco Diaz and Amari Peliowski 1. Adolf Loos, “Architecture” (1910) In: Yehuda Safran, Wilfried Wang (eds.) Architecture of Adolf Loos. (London: Arts Counc 1987), p-208 2. Walter Benjamin,-The Work of Artin the Age of Mechanical Reproduction’ (1936), In: Walter Benjamin, The work of art in the Age ofits Technological Reproducibility and Other Wntings on ‘Media. (Cambridge, MA: The Belknap Press of Harvard University Press, 2008) 3: Walter Benjamin, “The rigorous study of art” (1932): id