The Modernist summer house has a distinguished pedigree all its own. With its masonry construction, angled roofs, and organic cluster of one-room pavilions, architect Carlos Ferrater’s weekend house for a couple in Alcanar adheres partly to a tradition dating back to the first beach houses of José Luis Sert in the 1930s, and renewed by José Antonio Coderch in the 1950s and ’60s. Sert, in such works as his 1935 weekend houses in Garraf, explored a rugged Mediterranean alternative to the machine aesthetic of Northern European Modernists. Coderch reinvestigated the trend with his 1952 Ugalde House, where he used vernacular construction methods to create a fusion between the wild coastal landscape and his abstract, fluid forms.
Ferrater likes to say that the house is a kind of portrait of his client and his lifestyle. But like the vernacular techniques he uses, these concerns are also the raw material for the more personal creative project of his design, which comes to focus around the sophisticated formal play between the pavilions. Architecture is born from its circumstances, as he observes, but it can also dignify and transcend them.
The house is laid out across two plateaux. From the upper plateau, which was previously the site of a riding school, we can see that the countryside stretches right to the village. Three separate buildings are located on the upper plateau which contains the garage and bedrooms. The buildings are all accessible via a dual walkway along which screen walls are dotted which frame the views from the property and provide privacy for the respective patios. There is a forest on the other side. The rooms used for living purposes are located in an extremely large building, the height of which increases as the land descends towards the lower plateau. A vast bay window to the left reveals the surrounding landscape whilst the surface of the water located to the right on a lower level reflects the sky and the forest. The living room also has a stone terrace which goes as far as the swimming pool. From there, the view overlooks the countryside and the sea and the horizon beyond.
Can 9, Spain, by Atelier d’Architecture Bruno Erpicum & Partners
Photography by Jean-Luc Laloux
This house is limited to a single level, it is weightless on the water area that separates it from the entrance avenue. To the left, the entrance shows its gallery wall. Descend a level, the construction frames the view over the fields, the countryside is yours. To the left, behind you, a series of levels interrupted by stairs that stretch outside bring the profile of the site together. To the right, beyond the overhanging part that covers the dining room, the kitchen benefits from a lateral patio that bathes in the morning sun. Go down further, the garden continues right up to the old trees in front of a swimming pool that is so long that it takes the liberty to fold back into the building through the fault-line freed up under the built-up framework.
Genets 3, Belgium, by Atelier d’Architecture Bruno Erpicum & Partners
Todd Goddard and Andrew Mandolene have completed a restoration of the near-derelict 1957 home of architect Arthur Witthoefft. A few years ago, they were living in California modernist E. Stewart Williams’s 1957 Kenaston House, in Rancho Mirage, when they decided to move. They loved the West, but they loved mid-century architecture even more–and were prepared to relocate for it. Finding a house in the Los Angeles area equal to the Kenaston, a minor gem they’d impeccably restored, at an affordable price proved difficult. “So we decided to see what else was out there,” says Mandolene. “If there was something special, we would go for it.”
Arthur Witthoefft was an architect in the Manhattan office of corporate modernists Skidmore, Owings & Merrill, and his design was a lapidary example of Miesian simplicity: a 25-by-95-foot rectangle, composed of a black exposed-steel frame, front and northern elevations clad largely in white glazed brick, and southern and western exposures enclosed by floor-to-ceiling glass sliders.
Goddard Mandolene Residence, Armonk, New York, by Arthur Witthoeff, via: dwell
“…a personal and updated version of a private dwelling in the spirit of the modern era and in an international style. The final result of the architectural design and the new interior design is a reserved and cultured private home with human proportions and spaces that together form a strong and clear form, free of unnecessary decorations and designer “chit-chat” with a clean and moderate form and ideas, that reflect the architectural and social principals that are so difficult to find in today’s modern world.”
BAK Architects have completed the JD House, located in the forest of Mar Azul, in the Argentinian province of Buenos Aires.
Madrid-born artist Iñigo Manglano-Ovalle’s latest work, Gravity is a Force to be Reckoned With, realizes one of Mies van der Rohe’s unbuilt projects–albeit upside-down. The installation is an inverted, replica of Mies’ 50×50 House project from 1951. The small, house is completely enclosed in glass, with black leather Barcelona chairs, glass-topped tables, and a wood partition, containing a kitchen with a small range, countertop and a French Press with a teaspoon.
Gravity is a Force to be Reckoned With, by Iñigo Manglano-Ovalle
The house was built as a vacation home for a family living abroad. It is situated directly on the coast in the center of the country. The buildings architectural design is based on three central masses that surround a large internal courtyard with a swimming pool at its center. The masses comprise the border and the barrier between the street, the neighbors and the home’s interior and between the internal courtyard and those same spaces. The central theme was to create dynamic walls that allow, on the one hand, the elimination of the boundary between the central courtyard and the internal spaces, and on the other hand, the creation of a changing and dynamic facade that allows for the total closure of the façade or different levels of exposure or concealment.
The side the sea to the west, allows for a richer relationship between the exposed and the concealed. A partition created from six equal metal sections and adjustable wooden slats allows for the total closure of the façade or different levels of blurring between the inside and the outside. The dynamism of the large accordion doors and the adjustable wooden slats allows natural light that enters through them, to play a central role in the homes internal spaces and for the creation of geometrical displays of light against the vertical and horizontal areas and so enrich the material restraint in which the homes spaces are fashioned.
Originally built in 1956, Richard Neutra’s Troxell Residence perched high above the Pacific Coast Highway underwent a rigorous renovation and expansion to 3,000 square feet. Hughes Umbanhowar Architects followed cues from the original post and beam structure over which interior and exterior finishes of wood, stone, plaster and glass are applied in a simple refined technique to refine the play of space, light and views. A pile supported pool and deck, included in the original plans but never executed, now clings to the natively planted hillside, defining the limit of expanded outdoor living space and void below. 3 bedrooms are located off a common corridor facing west to the hillside, making for consistent, calm morning light. A seamless addition to the master bedroom projects the house further out into space – reemphasizing the overall horizontal composition of the building. From this room and the open plan dining and sitting areas large expanses of fixed and sliding glass welcome framed panoramic views that include downtown Los Angeles and Catalina Island.
Troxell Residence (Paseo Miramar) by Richard Neutra, Pacific Palisades, California, Renovation by Hughes Umbanhowar Architects, Interior Design: Brad Dunning
ie-tag was part of the exhibition, “Earth: materials for design,” which took place at the Miraikan in Tokyo over the summer. The post-its, created by Naruse Inokuma Architects, are made from the recycled wood of homes and buildings that were torn down. Once used as the material of a home, the wood was recycled into stationary, maintaining it’s original shape but in completely different form.