The project stands as an ephemeral and fleeting space, destined to itinerate after its mere 100 nights of public use, as its name suggests. This denomination constituted the foundational seed of the concept. The use of dry construction materials has been decisive in its aesthetic and its function as an ephemeral structure. Unpainted gypsum rock panels, Construction Safety Netting, Flexible Air Conditioner Ducting Vent Tubing, Translucent Polycarbonate Sheets, Gypsum Board Metal Profiles, aluminum-foil-faced-blanket, and Steel Reinforcing Mesh—all these elements exposed and hierarchically organized.

Its construction rises with the lightness characteristic of a lightweight and austere building. An ephemeral installation that emerges within an empty and hybrid container. The spatial organization consists of two volumes: one filled (sanitary facilities) and the other empty (the bar). Both are covered by a curved skin that forms the boundary between circulation and service areas. This skin not only serves as a boundary but also encloses usable spaces within the interstices formed by the filled volumes and the skin itself.

The lighting emerges as the protagonist, drawing silhouettes that shape the spatiality linearly, but also generating volumes depending on the space to be illuminated. Thus, the lighting defines the distinctive aspects of the proposal in its nocturnal version. The reinterpretation of elegance unfolds by incorporating rustic elements of the construction, which emerge transformed into luxurious objects: pendant lighting constructed from half metal tubes, galvanized fluted walls, backlit plastic ducts. Every detail reveals a play of contrasts, merging roughness and delicacy, reestablishing the guidelines for conceiving elegance with economical resources, but also an ephemeral elegance.

Through an industrial language of illumination, a regressive communication is woven, a temporal dialogue that suggests its ephemeral destiny. Time is present in its materials and also in its communication through a numerical countdown composed of light tubes controlled by a DMX system, just like the overall lighting.

Cien, an ephemeral ballet that transports us on a suspended journey through time, enveloping us in the magic of its forms and the poetry of its transitory existence.

The rationalist naval style building has a long history. The movement of its cornices and balconies are the result of typical strategies that emulate the movement of water and as a result a very unique architectural language of great aesthetic value. The existing building on the corner of the Plaza Mateo complex describes this modern language so characteristic of those days in the Rio de la Plata.

The proposal for Plaza Mateo emulates and reinterprets in a contemporary code this suggestive movement of naval rationalist lines through a language of altered pieces in variable directions. The scale of its heights is the result of an intimate relationship with the sizes of the parapet, lintels and cornices of the adjacent old building which is part of the complex.

The contrast of depths gives rise to chiaroscuro that reveals in its interstices the existence of hanging vegetation incorporated into the logic of movement of this skin. Movement that also dialogues emulating the waters of the Ramirez beach (Rodo Park) immediately in front of the project.

Plaza Mateo, originally a commercial plaza, was an open-air concert space. Hence the idea of preserving the identity of the plaza through the presence of active vegetation integrated into its façade. The perforated sheets allow a view through them of the natural integration of the vegetation into the building.

The restaurant was specially conceived as a central axis between the access and the visuals to the river. It is an articulated space that acts as a connecting element between the concert hall and the restaurant itself. As a strategy we used a kind of strips designed in perforated sheet metal in shades of green, which allow to visualize the entrance to the concert hall on one side and the restaurant on the other.

The project took place in an old corner property. It is a typical house built in the mid-twentieth century considered as self-construction housing. The property is divided into three separate units. The actual project was performed on corner unit, which functioned as an old bicycle store in the neighborhood. The main objective was to operate on the existing place through an element that is not associated to what already exists. While there is not a tectonic association (material), there is from the point of view of the volumes, ie, there was a clear intention of representing a game between the upper volume in contrast to the new intervention. Qualities of the new intervention as a sloped roof expresses a contemporary nod to its neighbor mono-pitched roof. For a contrast between the contemporary and the old volume, lightweight construction system was used and corrugated iron cladding were chosen to create a purely cubic volume, thereby releasing the excess of meters to a small triangular patio. In order to give cohesion to the whole, expanded metal mesh was used to sew both the new intervention and the existing house.

The first level is constructed with pre-stressed beams and the second level with a tubular structure about 100×50 reproducing a modulation which is displayed on the facade as well. The openings and protection systems strictly respond to modulation of the new intervention, totally opposed to the old house, whose openings have no projective logic. The intervention of only 66 m2 covered was not constrained to the corner unit, it also had to solve an expansion on an old zinc roof over the adjoining unit. In this way and through an lightweight tubular structure that supports a wide wooden deck we achieved an exterior expansion of the project which is accessed from the second level. As if trying to recall the ancient craft practiced there, the destiny of the new intervention is a practical space for arts and crafts. The idea is to develop activities such as classes of jewelry, carpentry, etc. mostly on ground floor and first level, while in the upper level will take place, physical activities, yoga and meditation.

The building is located on Niceto Vega Street, an artery in constant development in the Palermo neighborhood. Being always aware of the location, we always understood the importance of the building´s presence both from the perspective of both the architectonic and programmatic mark it leaves.

The speed and lights that characterize this street along with other decisive premises were analyzed when studying the proposal as a departing point to reflect upon the duality between the building proposal from its façade to the outside and that from to the inside. We therefore worked to develop the idea of the façade as an inflection point between the inner spatial search related to the static-perceptive, and the outer search that expresses the language of the dynamic, one that is totally linked to vehicular dynamism.

Starting from the decision to preserve the house´s most genuine characteristics (typically “Palermesque”) the project proposes an integration with the already existent but linking itself through the modern and contemporary while also paying homage to the original construction.

We were interested from the very beginning in reinterpreting the relation between the façade and the outside almost like a “back-light” sign operation so as to create a tension, movement, ludic dynamic, an intention of colors as an answer to the outer reality. Such operation of an agile, light and modern façade rests on the robustness and solidity of the original façade, composing a whole that is intimately related and tectonic.

As a result we have the sequence of twelve 13.77 ft. tall x 23.6 in. slender pivoting shutters made of frosted polycarbonate placed in metal frames, which allow the versatility in the façade opening, sweeping the specter from an A phase (a 100% hermetically sealed façade) to a B phase (a totally open façade). Each shutter hides a system of Leds RGB that allows to dye the façade according to the desired color and chromatic sequence.

This whole dispositive of such a contemporary style provides the final touch to the classic façade while simultaneously distinguishing itself from it through a visible strip of reinforced concrete that covers the front side to side.

Inner motionlessness as a contrast

The building functions in cuts, which was achieved through a succession of stepped patios and floating mezzanines and of quiet spaces for perception and contemplation. Inner spaces interrelated through continuous visuals that are deliberately aimed at the outside and the main sources of light, the search for the sky and the green, all of it achieved via the total opening of space through windows totally devoid of studs and woodwork. Metal frames were designed to embrace the big glass slabs while avoiding the reinforced concrete structure, forming the whole inner façade of the building.

The sole idea of focusing and structuring the building towards its inner world resulted in the capturing of an oasis full of vegetation and making it an integral part of the whole so as to somehow preserve the essence and character of the original construction.

Throughout the whole work there is the near-obsessive premise of working on the common links between the “old house” and the “new work”. These links are always points of tension from the architectonic perspective, which undoubtedly required our utmost attention, reflection and project solving skills. These encounters between the “old” and “new” worlds demand a particular care (design and material-wise) for both the general and primary decisions on the project as well as for the solving of the tiniest construction details