Reproductions of original masterpieces from legendary architect, Frank Lloyd Wright.
Taliesin 4 Table Lamp, by Yamagiwa
The Oak Pass Main house uses an “Upside Down” program, with public spaces above the bedrooms, which are buried into the hill and beneath a green roof of edible herbs. This relatively large house at 8,000 square feet appears much smaller and carefully integrated into the surrounding landscape, which includes over one hundred and thirty Coast Live Oaks. A seventy five foot swimming pool, with infinity edges on three of four sides, bisects the house and slips below one of the largest Oaks on the property.
Oak Pass, Beverly Hills, California, USA, by Walker Workshop
Photography by Joe Fletcher
Two Houses in the Forest, Viimsi, Estonia, by Tamizo Architects
In September 2014, twelve Master Product Design students of ECAL/University of Art and Design Lausanne were invited to reflect on a collection of objects to meet everyday needs in the Cité Radieuse in Marseille. The outcome of this research is being displayed as part of an exhibition staged in Apartment 50 from 4 to 19 July 2015. Apartment 50 was restored by two enthusiasts, Jean-Marc Drut and Patrick Blauwart, as close as possible to its original condition. Listed as a historical monument, the venue occasionally hosts exhibition projects.
World-renowned designers have already exhibited there, such as Jasper Morrison, Ronan & Erwan Bouroullec, Konstantin Grcic and Pierre Charpin. Thus, under the direction of Thilo Alex Brunner, head of the Master Product Design at ECAL, and of ECAL professor Augustin Scott de Martinville, a series of objects was produced over one semester by the Product Design Master students. The project began in September 2014 with a three-day workshop in the Cité Radieuse, allowing students to experience life in the building.
Set on an irregular site with unique site constraints, this new residence is a relaxed and informal family home that embraces its lush garden surrounds. The house is composed of two intersecting volumes arranged to make best use of the sites orientation and outlook. Entry is via a wide loggia space which overlooks the garden and spills into the living areas. Bedrooms are accommodated on the second storey gaining access to district views to the North-East. The master suite is surrounded on three sides by sliding windows and shutters that retract completely to open the room completely to the view and the surrounding trees.
Woollahra Residence, Sydney, Australia, by Tzannes Associates
Photography by Michael Nicholson
The dimensional constraints of the existing structure (the plot measuring only 4x9m) prompted the conception of this house in historic downtown Bayona (Pontevedra, Spain) as a spatial sequence of relatively autonomous rooms, defined by variations in their proportions, the geometry and layout of their ceilings, and a diversity of materials. The different arrangements of oak wood, and the contrast between the paved surfaces of polished concrete, tiling, white marble and wood, result altogether in a fragmented interior which is thus illusively expanded, while embodying the distinctive intimacy of domestic space.
Oak wood is the dominant, unifying material. Its extensive use allows for an understanding of the “small house” as a “big piece of furniture”, in which compartments, drawers and doors proliferate. A system of wooden lintels defines the divisions between compartments. On the upper floor, the lintels support a series of pyramidal ceilings which emphasize the autonomy of each room and expand its inner height. This solution includes light niches and skylights, which evoke the so-called lumieiras, a typical element of vernacular architecture in Galicia. At ground level a repetitive system of joists rest on the main lintels. The space between two joists is equal to its section, thus making a strong floor structure which, again, allows for the vertical expansion of the interior. Moreover, the wooden joists and lintels are structurally connected to a layer of reinforced concrete which supports the heating “carpets” for the upper floor: electric radiant cable underneath a cement tiling.
The warm, wooden interior contrasts with the hard coldness of the exterior, characterized by the existing golden granite walls. The new exterior elements (cornice, door, shutters, latticework, ventilation shafts, etc) stem from a continuity with the old building’s construction logic, and were used to set the tone for the whole intervention. By that continuity it is revealed the priority given in this project in particular to “coherence” as a goal in architectural refurbishment, beyond “style” and “taste”.
Aguirre House, Bayona, Spain, by Carrascal Blas
Photography by Lluìs Casals
This modern glass house set in the landscape evokes a midcentury vibe. A masonry fireplace divides the living area in the front from the functional greenhouse in the rear. The building has a painted steel frame with aluminum sliding glass doors set on an exposed concrete slab. The front features a green roof with native grasses and the rear is enclosed with a glass roof. The landscape was designed by Ron Herman and implemented by Zen Associates.
A Glass House In The Garden, by Flavin Architects
Photography by Peter Vanderwarker, Greg Shupe
Montreal photographer Chris Forsyth captures the ideals of the city’s underground system through ‘The Montreal Metro Project’, an ongoing photo series that accentuates the beauty of each station and encourages others to acknowledge it, too. Forsyth shifts one’s attention to the striking designs of some of Montreal’s 68 metro stations — each one designed by a different architect and reflective of the architectural trends, such as Brutalism and Modernism, that were dominant during the construction of the metro system in the ’60s and ’70s.
Montreal Metro’s Underground Architecture, by Chris M Forsyth
The client’s requirement was for a pavilion to be connected to the main historic house causing the least visual interference with the surrounding parkland. The pavilion was for an indoor pool, and some space for fitness, service and leasure in a climate controlled space. The main house, an early 1900 liberty building had been renovated by the clients ten years previously. The main house ground floor sat 100 cm above the external ground and as such had little connection to the surrounding parkland.The client also desired a glass enclosed space attached to the main house to enjoy the view of its natural surroundings.
The previous renovation of the house included landscaping and the addition of a small artificial lake in the south corner of the parkland. The aim was to achieve a sense of continuity within the volume inside and outside the pool. A small white ceramic mosaic tile was chosen. The west side of the pavilion (front) houses a sliding door. The door totally disappears into a structural cavity to maximize the connection with the surrounding artificial lake and parkland. In summer the indoor and outdoor spaces become one, a seamless conversation between both water surfaces (pool and lake).
La Piscina del Roccolo, by act_romegialli
Photography by Marcello Mariana