Casa Cavia is not a restaurant, it is not a flower shop, it is not a bookstore, it is not a publishing house. Casa Cavia is not in 1927, nor is it in 2021. Casa Cavia is a universe, a country of trades, how things were done before, with study, decision and dedication. A small fractal where you will find the great in the least. The artisan tableware made solely for those dishes, the dishes made for rejoicing, the bar made for music, the literature sounding to inspire. The letter that talks about the care of the product, the literature that talks about history, the past that is hidden in the floors, and the flowers that, although we see them die and be reborn, will always be the metaphor of how perfection can be made place through weather.
Time travel, where things are not just your speed. The dishes worked a whole day, the hand-carved ice, the flowers that coexist with the marbles, the garlic treated with the precision of a laboratory, the accuracy of the minimum, the exaltation of the simple, the humility of the good, of the simple product put in value.
A space with history
In the golden twenties, a man from a wealthy family entrusted the prestigious Norwegian architect and plastic artist Alejandro Christophersen with a unique gift for his wife. It is a residence located on Cavia Street in the Palermo Chico neighborhood, in front of the grove of a square designed at the beginning of the 1866th century by the landscaper Carlos Thays, which several decades later would take the name of Plaza Alemania. Winds of change are blowing: Buenos Aires is transforming into a beautiful, modern city, with great cultural and building development. In this framework, Christophersen (1946-1888) projects a stripped down and austere mansion, representative of his eclectic historicist style. Educated at the École des Beaux-Arts in Paris and linked to the Buenos Aires elite since XNUMX, the architect puts into play a style that postulates the architect's freedom from the material that history provides, a freedom that Christophersen displays in the variety of historical references that, from the project, are expressed in the use of the building. "Modern architectural art does not get caught up in detail," wrote the Norwegian, "but puts a new twist on an old idea."
This idea is manifested in all of Christophersen's work, such as the Anchorena Palace - today San Martín Palace, headquarters of the Ministry of Foreign Affairs -, the Santa Rosa de Lima Basilica, the Russian Orthodox Church, the Pedro Elizalde Children's Hospital and the Company Nueva de Gas, as well as numerous homes with the petit hotel typology, most of which were demolished. The house on Calle Cavia is one of the few family residences designed by him that has survived. A century later - a few years after the death of its owner, already a hundred years old -, in 2011, the Government of the City of Buenos Aires decided to protect the house, of great patrimonial value due to the quality of the style, the composition, the materials and typological coherence. According to the bill for the protection of housing, with this work Christophersen captures “the very essence of the grand siècle”. Its façade presents “a balanced play of masses and light, synthetic and refined”. Originally called Residencia Bollini Roca, the house located in Cavia 2985 was valued and redefined in 2014 to become Casa Cavia.
Casa Cavia is located on the edge of a traditional and sophisticated neighborhood, but at the same time dynamic: Palermo Chico. Designed by the French landscaper Carlos Thays in 1912, this neighborhood invites you to walk through the silence of its cobbled streets, surrounded by ancient trees. Where time seems to pass less quickly, classical buildings - destined for private residences or embassies - and imposing towers of contemporary architecture can be seen. On the shores of the neighborhood, on Cavia Street between Libertador and Castex, is Casa Cavia, which is revealed as a noble architectural piece of heritage value. Its windows overlook Germany Square, another emblematic site. It is a green space also designed by Carlos Thays, in which the Fuente de la Riqueza Agropecuaria stands out, the work of the sculptor Gustav Adolf Bredow, donated by the German community on the Centennial of Argentina. The tipas, araucarias and geraniums - together with those we usually see the neighbors walking or running, or resting after a sports day - complete the landscape of the square and undoubtedly contribute to the warm environment of Casa Cavia.