Location: Santiago, Santiago Metropolitan Region, Chile
Architect In Charge: Cristián Undurraga
Design Team: Soledad Fernández
Area: 708.0 sqm
Year: 2010
From the
architect. The
land where this memorial is located is a small park to the west of the Historic
Center of Santiago, surrounded by a series of detached two to three story
buildings constructed during the first half of the 20th century. It was here
that the most neglected souls in city were accommodated, together with a small
hospital, a church and the office of the Hogar de Cristo, a charity founded by
Father Hurtado in 1944.
The continuity of the facades gave way to a protected
interior where, in 1995, we built the Sanctuary of Father Hurtado. The
strategy, at that time, was to create a green area that would also serve the
series of buildings for workers that surrounded this Sanctuary. The spinal
column of the project is a passageway that run lengthwise, dropping as far as 5
meters below the level of the park.
At the far end is the tomb of the saint and
a small chapel. These buildings can hardly be seen in the midst of the gardens
which, with clever landscaping, establishes a complementary relationship with
the preexisting buildings.
The Solidarity Memorial, erected to honor the work
of Father Hurtado, a Chilean saint who devoted his life to the most
underprivileged in society, is a small concrete building to the east of this
park and from where one can still glimpse a splendid view of the magnificent
Andes mountains in the background.
In this sector, the most open inside the
small park and where geography prevails over and above the urban surrounds,
this new edifice goes no higher than the preexisting buildings around the
perimeter.
The new memorial is attached to these buildings acting as a kind of
hinge that articulates the original constructions to the more recent one that
characterize the Sanctuary. The silence and tranquility a project of these
characteristics demands led us to explore the possibilities of one dense and
translucent mass that appears as a wall on the outside with light inside.
It
was then that this wall of concrete and blocks of glass arose where the density
and color of both materials fuses into one sole façade, whilst inside, the wall
appears fragmented and perforated by the light. Once we cross the threshold and
the door to the inside, we are confronted with a compressed space which, making
one turn, opens to begin the ascent up the ramps that connect the different
levels of the building.
The light that filters through the glass bricks confers
a spiritual character to the space; a quality that reaffirms the austerity of
the materials: visual concrete, bleached pine timbers and walls painted white.
The different diagonal views that arise during the ascent intensify the
three-dimensionality of the inside.
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