We can’t say for sure if “Tu Reflexión” (Your Reflection) is an experience, an illusion, a landscape, a place, an object, an attempt at surreal construction, an artistic approximation or some mixture of several of these. Our interest is piqued by that feeling of instability or uncertainty when confronted with something difficult to identify, but which at the same time makes us question and return because “the project” seems to make a certain sense.
We wanted to build an uncertain experience, a situation of estrangement, of which we do not intend to control since the possibilities of reflection and deformation caused by two-dimensional planes of concave and convex mirrored aluminum are infinite as we we move through them.
We want the visitors to be expecting something that will surprise them.
It is not just about looking at the work, but about letting it surround you, involve you, letting yourself become part of it, and letting it become part of you, in a passive or active way, according to your own abilities, observations and reflections.
This experience is achieved through two operations: the first is the definition of a support or topography, a landscape of soft hills, saturated with grass and spongy vegetation, colored by an infinity of different wildflowers and crossed by a small stream. This landscape is transposed from an imaginary place, which could be a wild meadow or an instant in a painting by Alfred Sisley. We believe that the natural (artificial), spongy-soft slope is one of the most pleasant places to walk, sit, rest or lie down.
The second operation is the insertion of three two-dimensional planes of mirrored aluminum, which build a series of interior and exterior spaces, erasing the boundaries, disappearing, letting the surroundings reflected be the real project.
These ribbons are shaped and structured by an abundance of concavities and convexities that allow them to self-support and stand on the same horizon of 3.20 m with only a 25 mm thickness buried in the ground.
It is the relationship between these three two-dimensional planes that configures an asymmetric volume, which is almost disjointed. We are not interested here in the construction of the form itself, but with the interaction between the mirrored planes, the curves and the counter-curves. The quantity of reflective possibilities and deformations to produce an interaction pertaining to a world of illusions have been multiplied, more surreal than real, given that in nature there is no vertical reflection.
The curves, counter-curves and the fact that in many moments the aluminum-ribbon curves confront each other and at different distances generate a universe of reflections, multiplications and deformations, as if we were in a painting by René Magritte, or in front of some Francis Bacon portraits. This experience is achieved as we enter, varying with our degree of proximity, as we approach, touch, and move away. These situations intensify as more bodies move through this place, generating choreographies of colors and movements that will multiply infinitely.
We wanted to change the center of the object’s proposal to the experience of the subject − the interaction of this subject and others − and how the surroundings or context will be reflected and deformed with the subject before it. We do not intend to build a closed proposal, but to connect a universe of sensations and open experiences so that many things can happen.
Guillermo Hevia García (1986) and Nicolás Urzúa Soler (1986) are architects of the Pontifical Catholic University of Chile and studio-class professors of the School of Architecture PUC. They have been nominated for the Iakov Chernikhov 2014 Prize, selected at the IV Biennale of Latin American Architecture (BAL Pamplona) and awarded at the IX Ibero-American Architecture and Urbanism Biennale (BIAU). In 2015, they won First Place in the YAP_Constructo 6 Competition and Third Place in the competition for the new FADEU PUC building.