from equador

A Hotel in Atacama
Winning project in the XII Biennial of Architecture of Quito, Ecuador, BAQ/2000
Germán del Sol , Architect.

For the second consecutive time a projects from Chile obtains the grand prize: Biennial.

The architecture of the hotel allows visitors to experience the natural and cultural life of
Atacama. As well, the visitors can found themselves lost in its vastness, without having to
fulfill tasks. A new town is founded within the hotel, far from the colonial town, and from the
oasis´ surroundings of San Pedro. The objective is to make present the past, without being
confused by it, and to follow the pre-Columbian tradition of constructing towns with isolated
buildings forming great sites, without using streets. The interior in penumbra rests from the hard
life of the outdoors. It invites to remain, in the generous dignity of a palace. Objects of remote
cultures show the indescribable beauty of the things that are received gladly as they are, like
the oldness of a remarkable person. In the architecture of the hotel are present, the slightness
of the precarious constructions that survive without seeking survival; or the grace of the ruins
that each one interprets with imagination; or the vague line of the walls that gently locks up the
space, tremors, without appealing to lent certainties...

Translated by Nuria Moya.
The Spanish complete version at


Art, Design and Crafts
Enrique Vásconez´s work

Where are the boundaries between art, design and crafts? The artist creates a work expressing
himself and expressing his aesthetic impulse, or its way to see life and the world. His messages
can or not to be interpreted, its aesthetic expression can or not be produced to please the
spectators. Is his work able to exist in spite of the criticism and extend its time finding other
readers of its images and forms? The designer tries to synthesize messages, functions and
processes. Think
of an object that will be used and in addition will cause acceptance by its forms. The industrial
designer incorporates a specific manner for the production process as a substantive phase of the
design, as much as he crumbles the relation. The craftsman synthesizes with his hands the learning
transmitted generation by generation. It is like a cultural inheritance, in a very particular unit
with the matter with which he will define the forms. When the craftsman is placed under market
pressures, he is often forced to leaves traditional materials. Therefore he incorporates other
elements that do not belong to him or that do not keep coherence with the work. Modern materials
and subjects from other cultures, transform final items in successful merchandise. So different
expressions, of art, design, and crafts, can have common traits. Enrique Vásconez reaches crafts
through the acknowledgment of mud and its possibilities. He creates joint between
his work and the native cultural roots, whose mysterious forms speak us of distant
references to the myth.
Text: Evelia Peralta.
The Spanish complete version at

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