Fogo Island lies outside of Newfoundland, Canada and is home to a gentle, independent people who have lived for centuries between wind and waves in pursuit of fish. Fogo Islanders live in the untamed landscape of the North Atlantic. The people are subtle and unpretentious yet have seen their traditional way of life by threatened by forces largely beyond their control.
The concept of the long studio responds to the transition of the seasons. The studio is organized in a linear from that consists of three different spaces. An open but covered area representing the spring marks the entrance to the studio and the beginning of the seasonal activity. The central portion is left open and mostly exposed to be fully immersed in all that is offered by the long summer days on Fogo Island. The end and main body of the studio is fully enclosed to provide an area of protection and solitude from the outside environment while still providing a connection to the landscape through a strategically framed view of the dramatic surrounding.
The long linear structure of this artist studio maximizes the amount of open wall and floor space. Large windows at either end and a skylight on the roof of the studio allows the maximum amount of natural light to flood the space. We have made one of the walls 1m deep to house storage, toilets and washbasins, with doors that are flush to the wall, thus avoiding any visual distraction inside the space.
The studios are placed on pillars at the end towards the sea, while the entrance area has a small concrete foundation for anchoring the construction to the landscape. With this type of construction, the studios can be placed in almost any place on the island. In addition, this allows for the studios to be pre-fabricated in a local workshop during the winter months, and then placed in the landscape in the spring.
The Bridle Road Residence is nestled at the base of the Table Mountain and just off the coast of the Atlantic ocean in the distance. Cape Town, South Africa represents one of the most ecologically diverse locales in the world, and the landscape consultants who developed this project focused on the local ecology for this home’s magnificent garden. The heart of Bridle Road’s landscape is the Fynbos, a collection of fine shrubs that are native to a small track of land encapsulating much of Cape Town. As Fynbos becomes increasingly threatened by fire and alien plants introduced by immigrants, the landscape architects for the Bridle Road project have created a safe commune for the plant around this home. The result, as you can see, is lush, beautiful and most importantly–local.
Beyond the landscape, the home itself an absolute dream. It is surrounded by naturally preserved land on three sides, providing privacy to its occupants. The public side is mostly hidden by design, while the bay-facing section of this home is open to the air and otherwise sealed by picturesque windows. The rear deck and garden features a natural swimming pool, ecologically balanced and self-cleaning using plants, sand, gravel and a waterfall built into the side of the home. Water in the natural pool circulates upward into a reflection pool in a private courtyard above, then washes over the side of the house in a waterfall that flows over the window of an indoor bathing room and sauna. The flowing waters provide a natural curtain for the privacy of the guests in the bathing room within.
Berlin-based photographer Matthias Heiderich recent work are abstract compositions of architectural elements in landscape.
ISO 3ERL1N, Meanwhile, back in Berlin, Color Berlin, by Matthias Heiderich
The Bahia House makes use of the old popular knowledge that has been reinvented and incorporated throughout the history of Brazilian architecture. The house was considered for where it is, for the climate of where it is, for Bahia. And, for this no “green” software was used, no equipment and no calculations were made. The builders of bahian traditional houses have long-known how to keep interiors cool even with a blazing sun of more than 40ºC, long before the corbusian ideas had been tropicalized or even before Sir Norman Foster had given a precise, technological and scientific dimension to sustainable architecture. These bahian houses have roofs of clay, a banal material made in a rustic manner, and wooden ceilings. The openings have large panels of wooden Mashrabiyas brought to Brazil by the Portuguese colonial architecture since the first centuries of its occupation of the American territories, and its origin is of an Arabian cultural influence.
The house is located in a housing estate, which lies on the other side of the Santander bay. It lies on a hillside which looks upon “Cubas” estuary. One enters the plot from a road which runs along the lower limit of the plot, parallel to the contour lines of the slope. It coincides with the good orientation and the sights. Whereas some designs have a complex development with drawings of different alternatives, this one happened in a very natural way, after the first visit to the place with the owner, during a late summer sunset.
First sketches insist on how to land the house on the plot so as to enjoy the beautiful sights to the south, with the estuary in the first term and the mountains in the distance, and also, on how to achieve a well orientated garden. The organization of the house results from these conditions and the adoption of the known L-shape floorplan. Day areas and night areas were assigned to each wing, with the peculiarity of arranging each wing at a different height which allows for a better adjustment to the slope.The topography makes it possible for both volumes to have a half-buried floor for complementary uses with openings to the south which look either directly or across an English courtyard. This solution obtains a large surface, which the owners demanded, with a reduced impact.
The elegant choice of the furniture, with diverse pieces of Charlotte Perriand, Jean Prouvé, Serge Mouille… and the plastic works of Elliasson, Lewitt, Nara and Uslé, help to characterize the house and facilitate a comfortable life.
House in Somoboo, Spain, by Eduardo Fdez.-Abascal Teira and Florentina Muruzábal Sitges via: archdaily
Richard Neutra is one of the noted architects of the 20th Century, most-known for his mid-century modern villas in California. However his final creative years spent in Europe have been less studied. Last year, Iwan Baan documented all of Neutra’s projects in Europe, focusing on how the projects are being used by people today. The exhibition shows many buildings that had never before been documented, including the Pescher House in Wuppertal, created five years before the architect’s death in the same city.
Pescher House, Wuppertal, Germany 1968 by Richard Neutra, Photography by: Iwan Baan
Led by Yoshiyuki Moriyama, Tokyo architectural firm Baqueratta specializes in building modern minimalist small and medium-sized residences.
TH House, by Yoshiyuki Moriyama, Baqueratta
A cat has become a museum
There once was a chinese emperor who liked cats a lot, and one day he called upon the most famous painter in the Empire and asked him to paint him a cat. The artist liked the idea and promised that he would work on it. A year passed and the Emperor remembered that the painter still had not given him the painting of the cat. He called him: What of the cat? It is nearly ready, answered the artist. Another year went by, and another and another. The scene kept repeating itself. After seven years, the Emperor’s patience came to an end and he sent for the painter. What of the cat? Seven years have gone by. You have promised and promised but I still haven’t seen one! The painter grabs a sheet of rice paper, an ink well, one of those brushes like you can only get in the East and… in an elegant and sublime gesture he draws a cat, which was not just a cat but only the most beautiful cat ever seen. The Emperor was ecstatic, overwhelmed with such beauty. He did not neglect (which is no longer the case nowadays) to ask the artist how much he would charge for such beautiful drawing. The painter asked for a sum which surprised the Emperor. So much money for a drawing that you did in two seconds, in front of me? said the Emperor. Yes Excellency, that is true, but I have been drawing cats for seven years now, replied the poor painter.
The project for the Museum Mimesis, already under construction in the new town of Paju Book City in South Korea, is a cat. The client didn’t have to wait for seven years for his drawing of a cat, but Álvaro Siza has been drawing cats for over seven years now. He has never seen a Korean cat, because he has never been there.
In one day I briefed him on the site, and brought along a small site model, showing the boundaries and the immediate context. In one single gesture, a cat was drawn. The Mimesis is a cat. A cat, all curled up and also open, that stretches and yawns. It’s all there. All you need to do is look and look again. At first the design team members could not understand how that sketch of a cat could be a building. I have in my days seen many sketches of cats, and am always overwhelmed by them, can’t get tired of them. I want to see more cats, more sketches of cats, for several seven years have gone by.
In architecture, after an initial sketch comes the torment. The initial design, models, drawings, corrections to these, doubts, new drawings, new models, a presentation to the client, who had already seen other projects but could not conceal his surprise at this one. Once approved, we progressed the project on through the usual steps, which in Korea are shorter and less bureaucratic.
The brief has not been altered, but it is necessary to make some adjustments as part of the evolution process. To think of materials, techniques, infra-structure, representational conventions, so that everyone understands, in an attempt to make everything work out. In the basement we will have the archives, the service area, maybe an extension to the exhibition area, as is becoming a habit in museums designed by Álvaro Siza. The ground floor is a space for arrival and distribution, areas for temporary exhibitions and a café/restaurant with all necessary back up. Administration areas, staff circulation, area for the administrative archive and staff toilets are located in the mezzanines. The top floor is for exhibition space.
Light, always light, so carefully studied. Both natural and artificial is seen as essential. Allowing to see without being seen. Models and more models were constructed, some of which you could enter into. Also 3D images. Form will be given by cast concrete, light grey, the colour of a cat. Inside, the white of the walls and ceilings, of the marble, which we hope will be from Estremoz and also the honey colour of Oak. Timber for the internal frames, and glass. As for the external windows, timber, painted steel and crystalline glass.
The building progresses, so do we, as it is in Korea. It is a technically difficult job; we were concerned at the quality of the contractor and sub-contractors involved. Our friends and partners are enthusiastic and reassure us.
To draw a cat is really difficult, try it! It can take seven years! At least!
Mimesis Museum, Paju Book City, South Korea, by Álvaro Siza with Carlos Castanheira and Jun Sung Kim, Photography by ultimasreportagens
After World War II, post-war Europe was suffering from a lack of housing with many displaced people from the extensive bombing raids. In response to the housing crisis in Europe, Le Corbusier began delving into designing large scale, communal residences for the victims of World War II. One of the most notable projects in this series was the Unite d’ Habitation in Marseilles, France. This project had inspired a continued implementation of the design type across Europe. The fourth building in the series is the Corbusierhaus in Berlin, Germany. Completed in 1959, it was designed as a symbol for the modernization of Germany after the war and the Cold War.
Designed for the International Building Exhibition of 1957, the Corbusierhaus is almost an exact carbon copy of the Unite in Marseilles. Among the dense living conditions, there are elements of communal living that provide amenities and activities for people to come together. Within the large housing block there is a kindergarten, medical facility, several recreational spaces, and a garden; a continuation of the conceptual “city within a city” bringing people’s every day activities and needs into the housing block. Corbusierhaus was also an extension of the idea of the “vertical garden city” of bringing the villa into a high-rise.
Corbusierhaus was intended to bring a modern touch to Germany, as it was trying to redefine itself after World War II. The modern structure and use of beton-brut concrete give the housing block a neutral aesthetic composed of egalitarian housing. The standardization of the units and ingenious spatial configuration of the units is a trademark of the Unite series, as well as the reduction of the corridors to every third floor. These corridors were repurposed by Corbusier to have dual functions of not only a circulation space, but a new communal space for the neighbors to gather and socialize. The “rue interieur,” or interior street, added to the spatial complexity of the Corbusierhaus, as well as redefine the social parameters of a public circulation space.
The owner’s affection for a stone outcropping on her property and the views from its peak inspired the design of this house. Conceived as a bunker nestled into the rock, the Pierre, the French word for stone, celebrates the materiality of the site. From certain angles, the house–with its rough materials, encompassing stone, green roof and surrounding foliage–almost disappears into nature.
To set the house deep into the site, portions of the rock outcropping were excavated using a combination of machine work and handwork. The contractor used large drills to set the outline of the building, then used dynamite, hydraulic chippers, a selection of wire saws and other hand tools, working with finer and finer implements as construction progressed. Excavated rock was re-used as crushed aggregate in the concrete flooring. Excavation marks were left exposed on all the stonework, a reminder of the building process.