Pérez Palacios Arquitectos Asociados (PPAA) was invited to participate, together with four other teams of architects, to reflect on contemporary housing prototypes, their conception and materials in a changing world, with proposals that have an approximate area of ​​46.5 meters square (500 square feet).

The initiative was launched by the Crystal Bridges Museum, in an open-air architecture exhibition entitled "Architecture at Home", to reflect on how architecture affects our lives, and better understand what makes a house a home and a refuge.

The exhibit (on view through November 7) blends into the landscape and is presented along the Orchard Trail, on the museum grounds, and around R. Buckminster Fuller's "Fly's Eye" dome.
In this context, Pérez Palacios Arquitectos Asociados (PPAA), poses a reflection that questions how in the current form of housing, appliances, furniture and other common objects in a house can occupy more space than we think, taking such an important role in the distribution of a house that is what defines the space.

PPAA's idea behind this analysis is to test what a huge footprint these objects occupy right now, and how if we find a way to densify them, and bring them together in a given space, the design of a house will become much more flexible.

"Spaces today need to have the possibility of becoming flexible, a multipurpose room that invites the user to do what they want with it, allowing the inhabitant to adapt the space to their demands. The idea is to make people more aware of how much space is not being used to its full potential in today's way of life."
 


Infinite Openness in "Architecture at Home" by Pérez Palacios Arquitectos

Project description by PPAA Pérez Palacios Arquitectos Asociados

While thinking of a home for the future we looked back on what we have lost. Homes of tomorrow need to respond to an urgent need for sustainability and values enhanced by the technology available. Architecture needs to regain the idea of presence, of being part of a place and time. It has always been related to its context, the available resources, and local construction method, all of this should continue to be an essential part of it even though nowadays material can travel around the globe. Using local resources and construction methods the project gains a sense of place and a true relation to its natural and artificial surroundings.

There are different contemporary construction methods, categorized into earth accumulation, stacking of blocks, inflatable, and framing systems. We believe the framing system construction method could be applied in most contexts, and at the same time reduce the amount of hand labour, by taking advantage of technology. The structural framing system and the material to close the space respond to the local resources and construction methods. This is to further enhance the connection between the building and nature.

Architecture has lost its relationship with the surrounding nature in a way that it has even erased its existence to a point where there is no more nature present, raising a fundamental question: the place of humans on Earth and its relationship with nature. At a time when human presence over nature has never been so extreme, architecture should be the key to creating this connection. Humans build humans abandon, but nature stays. We can no longer think of architecture without thinking of nature, and conciseness towards the natural environment. Building in nature creates a contradiction. The human presence in natural landscapes is an interplay of scales, a juxtaposition of archetypal shelters against the vast sceneries, as well as a negotiation between access to the landscape and environmental conservation.

The exponential growth of technology is accompanied by its ever-shrinking volumetric presence. These reductions of a human’s needs elaborate the pessimistic future of minimizing one’s existence into the essential, which is often practiced by developing entities in the urban context. Quality spaces, inside and out, must be returned to people, and in cities, the issue of lack of attainable quality space is what we seek to begin to rectify with our design. We will seek to design a space that will provide an actively improving atmosphere, through spatial organization, a sustainable building approach, and a breathing urban contextual relationship between user, house, neighbour, land, and surrounding nature. Creating flexibility in the interior, a space with superfluous separation is a concept of the past. Utilizing technology, designing a space that can be used for multiple purposes, depending on the user’s immediate need. Each space must have the possibility to be flexible. A highly valued exterior and a defined, private space are vital. The exterior space will be a driving force in our approach. We must bring a quality of light and spatial proportion that much of contemporary development has forgotten. There must be a sense of awe and inspiration within moments of the space. The house must play well with others, making this unit part of a system, that communicates with other units as part of a built community.

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ExhibitionCurator
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Dylan Turk, special projects editor, architecture and design.
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Project team
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Pablo Pérez Palacios, Miguel Vargas, Andrés Domínguez, Sergio Delgado, Emilio Calvo, Jonathan Reséndiz.
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Collaborators
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Structure and fabrication.- AM Taller de diseño. Alejandro Marvan, Ana Martinez del Río.
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Client
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Crystal Bridges Museum of American Art.
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Area
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Built area.- 48.5 sqm.
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Dates
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2022.
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Location
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Crystal Bridges Museum of American Art. 600 Museum Way, Bentonville,  72712, Arkansas. USA.
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Photography
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PPAA. Architecture studio located in Mexico City was founded by Pablo Pérez Palacios in 2018. The practice is driven by an architecture of ideas over the architecture of forms. We conceive architecture as an open medium and message, one that is constantly put to test, by the multiple relations that are in its surroundings. They follow an inclination for nature, where the weather, soil, textures, and other factors—along with the gradients in each factor—create a sensorial atmosphere. They like to think that the way they have of understanding architecture implies that work cannot be done without considering both communal and personal intentions. Therefore, our conception of architecture is based on an understanding of the body and the relationship everyone establishes with their surroundings. Taking this into account, each project seeks to be an extension or support of our experience, personal as well as spatial.

They believe that this can be summed up in the architectural rehearsal, which is the way that modern architecture should be understood. The architectural rehearsal is a vehicle for approaching themselves; the more they rehearse, the more they understand themselves. Furthermore, for architecture to be capable of conveying an idea or intention, it has to speak of the individual, or the sum of individuals, and the way they relate to their environment, on both a sensorial and emotional level.

Pablo Pérez Palacios (Mexico City, 1980) studied in Florence, Italy before he started a bachelor’s degree in Architecture in Mexico City’s Universidad Iberoamericana and Barcelona’s Universidad Politécnica de Cataluña (2000-2005). He pursued a Master of Science in Advanced Architectural Design at Columbia University in New York City. Subsequently, he established DCPP Architects (2007-2017) with Alfonso de la Concha.

In 2018, he started PPAA Pérez Palacios Arquitectos Asociados, an architecture studio located in Mexico City that defines itself as an independent professional practice concentrated on architecture, art, urban, and interior design. PPAA seeks an architecture of ideas over forms.

The studio is constantly participating in several competitions, and its work has been published worldwide. It was shortlisted as finalist in Concurso Papalote Museo del Niño Iztapalapa (Mexico City, 2015); and, with the project Cerrada Reforma 108, it received the silver medal in the category of “Single Family Home” at the A’Design Award 2013 and the silver medal in the category of “Vivienda Unifamiliar,” with the project Cerrada Reforma 108 at the Bienal de Arquitectura de la Ciudad de México 2013. In addition, Pablo has collaborated with contemporary visual artists such as Rita Ponce de León and Abraham Cruzvillegas.
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Published on: September 7, 2022
Cite: "How much space do the objects in a home take up? Infinite Openness in "Architecture at Home" by Pérez Palacios Arquitectos" METALOCUS. Accessed
<http://www.metalocus.es/en/news/how-much-space-do-objects-a-home-take-infinite-openness-architecture-home-perez-palacios-arquitectos> ISSN 1139-6415
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