The Hill in Front the Glen

The idea thatoriginated this project came from the subtle murmurs whispered by anenvironment like this, which were carefully listened to, and from the client’ssearch for protection and shelter. How can onefeel protected? and in any case, what can be done when feeling vulnerable? Thisquestion was accompanied by an image or perhaps a memory: that of a frightenedchild covering himself with a light bed sheet as he looks out to make sure hesees what is going on around him. Pulling a bed sheet to cover up is avery elemental act that alludes to the most basic part of the self; a bed sheethides, protects, wraps, and creates a space underneath so safe and intimatethat it is able to keep away any spirit, ghost, or demon that may besurrounding the room. At the same time, it generates a continuity in thebeautiful living surface around the land, forming a new hill in a place alreadysurrounded by many of them. Thearchitecture should be in this case an accent on the words of the poem, acomma, or in any case a question mark, but it should never be the poem itself. The poem is already given by the pines, the oaks, the sweet acacia, thefireflies, the road, the fence, the neighbor’s water well, the earth, theorchard, and the nightingale. Such accentsin the poem were four concrete walls that emerged surprisingly from thelandscape; two of them bear the land of this new hill that was created byraising the bed sheet, and two others frame the access and escort the guests ontheir way into the house. Thispath is wide enough to walk it comfortably alone but narrow enough not to beable to do it accompanied. Visitors are cast into a pilgrimage in solitude thatleads to an old tree with such a significant presence that it was necessary todistort the linearity of one of the walls with a gentle curve to be able topass next to it…so close that it is even possible to graze it. After crossingthe tree threshold, going down a few solid pearled stone steps, and opening aheavy steel door, a concrete vault stands there, supporting the loads of thegreen bed sheet that rests on it; it gives a sensation of being inside a cold,dark, but strangely cozy cave. Concrete waschosen as the main material because of a dream of this new rock melting whileinevitably interacting with the forest, changing colors… grays that turned togreens, blacks and yellows that were gradually incorporated into theenvironment. The flooring would emphasize the aroma of wood that is perceivedwhen surrounded by pine trees, giving balance to the cold temperature of theconcrete; and finally, the steel took place because with time and rainfall, itacquires an appearance like tree bark. As for thespatial organization, on the left side of the house are the public areascompletely exposed to the wooded ravine, and on the right side the privateareas open more timidly to a courtyard that allows to see the sky and the topof some trees but that closes a bit towards the outside. Itwas important to have very few references of elements that would connect to aspecific moment in time, so the refrigerator and appliances were hidden, thelighting was arranged very discreetly, and only the four main materials wereincluded: stone, wood, concrete, and steel. It was very important for theclient to preserve the rough and primitive atmosphere of being in themountains. Arquitectos: HW STUDIO Website: Contact e-mail: hwarcstudio@gmail. com Facebook: @hwstudioarquitectos Instagram: @hwstudioarq Localizacio: El vaquerito, Morelia, Michoacán. Mexico Google maps link: Completion Year: 2021 Tamaño: 250 mts 2 OTRA INFORMACION TECNICA I OTHER TECHNICAL INFO Arquitectos: Rogelio Vallejo Bores y Oscar Didier Ascencio Castro. Equipo: Sergio Antonio Garcia Padilla, Jesus Alejandro Lopez Hernandez,Alberto Gallegos Negrete. Constructora: ARGA Constructora Rainy Mood Pictures: Cesar Bejar Photographer’s website: Sunny Mood Pictures: Dane Alonso Photographer’s website: Video: Mavix. Hugo Tirso Dominguez