Ventana circular de edificio en Valparaíso.

Desde el interior, en un edificio, ante una construcción y su mecanismo pivotante elemental, planos inscritos en una esfera, trazado y realización con belleza constructiva.

Afuera la extensión del puerto, cerros, orilla, y la superficie del mar, hacia adentro los reflejos que se dibujan sobre la superficie brillante del vidrio.

Esta ventana está ubicada en un recinto público del edificio, por esto su constructor se toma mayores licencias en su trazado, el círculo. Es una abertura que ventila e ilumina el interior, y lo vincula con el exterior para quien pasa, para un habitante que circula, que va entrando o saliendo, no es una abertura para quien reside.

No reparamos tan seguido que nuestro contacto interior-exterior es ortogonal, que nuestra residencia es ortogonal.

La arquitectura moderna ha traido la libertad de las figuras como posibilidad de construcción del espacio habitable, si pero, parece ser que hay una geometría en uso, acaso cultural. En Valparaíso el círculo llega con legítimo pudor al umbral, antes que a la residencia.

Como si la abertura circular no trajera a presencia lo que efectivamente es, sino una versión especial, una especulación o un escorzo, o quizás una fantasía.

English version by Mary Ann Steane.

Circular window, foreshortened figure or fantasy

A circular window of a building in Valparaiso.

From the interior of a building, in front of an element of construction and its basic pivoting mechanism, placed on a flat area, beautifully outlined and constructed.

The sweep of the port area, hills, coast, and surface of the sea outside becomes a reflection for the interior that is drawn on the shiny surface of the glass.

This window is located in a public room of the building, so its designer takes greater license with its outline, the circle. It Is an opening that vents and lights the interior, and links it with the outside for passers by, or for a resident who circulates, one who is entering or leaving. It is not an opening for those who live here.

We do not often notice that our exchange between the inside and the outside is orthogonal, that our residence is orthogonal.

Certainly, modern architecture has made the freedom of figures a possibility in the construction of habitable space, but it seems that there is a geometry in use that reflects cultural  assumptions. In Valparaiso, with proper modesty, the circle is associated with the threshold, rather than the living areas.

As if the round opening does not make present what it is, effectively, but makes present a special version, a speculation or a foreshortened figure, or perhaps a fantasy.