At the edge of a garden in Argentina, Agustín Berzero crafts a concrete atelier where anarchitecture meets utility, stripping space to its essentials for a practice of pure focus and form.
This isn’t merely an artist’s studio; it’s a controlled spatial gesture—an act of anarchitecture, where absence becomes form, and the utilitarian transforms into something almost monastic. Detached from the main house and composed in two geometrically clear volumes, the project establishes a boundary not just from the home, but from any notion of conventional comfort.
Berzero’s approach is ascetic yet deliberate. The workshop’s raw concrete shell acts as an artificial geologic mass, a mute monolith amid trees, while the interior flips the logic—lined with wood, textured by terrazzo, illuminated by northern light through a calculated clerestory. This is not a space for display; it is a space for thinking and making, for slow gestures and extended silences. The material contrast is neither decorative nor rhetorical. It simply insists on difference, on the clarity of purpose.
The sloping roof nods quietly to the architecture of the main house, but with different syntax. Where domestic architecture mediates between enclosure and expression, here the gesture is surgical: section opens to light, plan detaches service, and courtyard delineates entry without performance. This is architecture as infrastructure for thought. An architecture not for inhabiting, but for occupying with intention.
