Home of a couple with a passion for architecture who were keen to make one of Düsseldorf’s rare ruins their own. The reconversion was closely overseen by the administrative authorities, since this old factory in the city centre miraculously avoided damage during the many bombings of World War II. Across from the coachman’s passageway are some garages that stand in front of the entrance court. The court is dotted with screens that flank the entrance and seclude off the “day patio”. The history of the city is reflected in the glass panels, reminding you of the building’s heritage. A facade made entirely of glass stands completely independently of the old structures, showing off their immense scale. The building is now protected against the elements and complies with energy performance requirements. The study opens boldly onto the garage and gym. The gloss painted furniture designed by architect Bruno Erpicum reflects the structural elements. A vast white space devoid of any accessories houses the sleeping accommodation in the conversion; the rotating door appears to be floating in the air. An enormous living room is arranged between the pilasters that are displayed with pride.
Düsseldorf, Germany, by Atelier d’Architecture Bruno Erpicum & Partners, Photography by Jean-Luc Laloux
Located in Alto do Lagoal, a neighborhood facing the sea in Lisbon, Portugal, the home sits nicely between two blues: the sky and sea. The House at Paço de Arcos by Jorge Mealha, unfolds a setting where solids and voids are in display for each other. The arrangement and span of the masses allows for interesting in-between spaces that not only allows light to penetrate the core of the development but also allows reflection as water and shadows bend the surfaces and maximizes its adjacencies. These reflections allows for a dramatic play and change of light throughout the day and give texture to the endless cement plaster walls that dress this house.
A stand of Nikau, an idyllic private bay and a building platform defined by ridges either side set the architectural program of the design of this family beach house. The concept evolved from the idea of a family group camping, creating space between the functional nodes. This was particularly important in allowing space for the boats and water to move through the valley to the bay below. This space was utilised to give physical separation to the guest house. It was important to activate the spaces around the house giving a progression to enjoy. From the lawn overlooking the sea soaking up the morning light, to the private courtyard, framed by the Nikau grove, catching the last rays in the evening whilst enjoying the outdoor fire.
Waikopua House, New Zealand, by Daniel Marshall, Adriana Toader, Daniel Marshall Architects
Winner of the AIA National Robin Boyd Award for Residential Architecture, the Trial Bay House involved a complete reorganization of an existing dwelling and the addition of a new living room, veranda, courtyard and garage. The house features the Channel Room, which overlooks D’Entrecasteaux Channel, Tasmania, this room was built with precast concrete panels that were angled inwards to frame the view. The effect is like standing inside the lens of a camera, with the viewfinder focussed on distant Bruny Island, in a subtle reference to the owner’s career as a director and screenwriter.
Trial Bay House, Tasmania, by James Jones, HBV Architects
Le Corbusier, Assembly Hall (Chandigarh, India) Roof model (1964).
Plaster and painted wood
UNStudio (Ben van Berkel and Caroline Bos) Mercedes-Benz Museum Model (2001-2006) Stuttgart, Germany. Composite board, plastic and paint
Jürgen Mayer H, Mensa Karlsruhe Dining Hall model (2005-2006) Karlsruhe, German. Laser-cut polystyrene, glue, white airbrushed paint
Curated by Barry Bergdoll - the Philip Johnson Chief Curator of Architecture and Design – and curatorial assistant Margot Weller, Building Collections, at MoMA New York, highlights recent acquisitions made by the museum’s Department of Architecture and Design. Covering eight distinct themed areas that encompass the full range of the collection – which dates from 1890 to the present – the exhibition includes everything from delicate sketches by the likes of Heinz and Bodo Rasch (Suspension Houses Project) to the complete paraphernalia of the design process, such as the models, sketches and plans for UNStudio’s Mercedes Benz Museum in Stuttgart. The vast majority of pieces on display are being shown exclusively for the very first time.
This small guest house stands in an upland meadow dotted with large oaks and granite outcroppings, a new addition to an enclave of house, garage, and barn overlooking Long Island Sound and the Thimble Islands. The project brief was modest: a combined living and dining room with a small kitchen, a single accessible bedroom and bath and an upper story room that would double as additional sleeping or recreational space. Due to its proximity to the primary residence, the building was considered by the local zoning codes as an “accessory building,” strictly limited in both ground plan and height, allowing barely enough headroom for legal occupation of an upper story. Our simple plan incorporates a bedroom, bathroom and kitchenette within an enclosed volume with communal living and dining spaces surrounding it. The sedum-covered shed roof, a steeply pitched plane lifted by the “pressure” of the spaces beneath it, is another planted surface in the garden that spills excess water into the landscape. Our glazing details are intended to dematerialize the building’s seams: eaves come apart from the walls, corners detach, the roof tears open to connect the light bamboo-lined interior to the expanse and beauty of the site; long views, the canopies of oaks, and the ever-changing coastal sky encompass the small building.
Cottage, Guilford, Connecticut, by Gray Organschi Architecture
Nils Wenk Architekten has completed a conversion of former pumping station in Berlin to a gallery, studio and residential buildings.
Pumpwerk Neukölln, Berlin, by Nils Wenk Architekten
You arrive at the villa by a path paved with lava through the front garden, a steel roof with a dramatic change in the pathway and protects at the same time introduces an element which projects outside the main facade of the building. The angle on the roof of the villa entrance is a wall covered in lava rock cleft and contains a cut corner, a window onto the living room. The opposite edge is instead of glass and turns on the side elevation along the length of your stay with sliding glass doors to the garden that interact with the outside world in absolute transparency. On the back on the ground floor front is more solid, a stone wall, alternating with a white plaster wall in the middle, the window of the bedroom is like a cutting height on the wall. Neat, precise, sharp.
Venice-based studio Corde Architetti has designed Euroom, a small exhibition space in the backyard of a private residence. conceived as a display box for photographic works, the rectangular volume is an abstraction of the traditional gallery space compressed down to a 35 m2 area. Arranged on a bed of rocks, the box is wrapped in a milky translucent skin which prevents views into the interior space from the outside. A small rectangular opening at the foot of the outward-facing surface gives a glimpse of the activity within. An outdoor fountain runs water into a large metal basin which creates a very shallow reflecting pond that extends to the edge of the ‘window’, resulting in a dynamic visual connection between the gallery and the garden outside.
Commissioned in the mid-’50s by industrialist Henry Singleton for a site on a spectacular peak atop Mulholland Drive. The house has been restored by legendary stylist Vidal Sassoon and his wife, Ronnie. Although the Sassoons made use of Neutra’s original materials and vocabulary to an astonishing degree, the changes were considered sacrilege by some design purists. Ronnie, however, is unapologetic: “Unless the house is a museum, or you only spend a few weeks a year there, you just can’t live this way today. And given how valuable the land is, the house would have been torn down.”
When the renovations were complete, the couple turned to decorator Martyn Lawrence-Bullard, a close friend, for advice on the interiors, particularly upholstered pieces and textiles. “Ronnie and Vidal both have such an amazing eye,” says Lawrence-Bullard. “They bought great midcentury French and Italian furniture, including important pieces by Charlotte Perriand and Gio Ponti.”
Singleton House, Bel Air, California, by Richard Neutra, via: Architectural Digest