Polish firm Tamizo Architects have designed an office complex, consisting of 3 rectangular buildings colored in black, grey and beige. Each are joined through glass openings and stairwells.
“This box contains a numbered, limited edition interactive model of Herzog & de Meuron’s 56 Leonard Street, designed to be taken apart and reassembled as a means of exploring the tower’s radically innovative design. The building will contain 145 residences, each with its own unique floor plan and private outdoor space, in a veritable cascade of houses stacked in the sky, blending indoors and outdoors seamlessly together.”
Limited edition models of 56 Leonard Street were never available for sale to the public, however one was offered for sale recently on Ebay.
56 Leonard Street Model, by Herzog & de Meuron, via
“Natural high-tech” is the concept of this new modular, sustainable & transportable low-energy house. Designed by Werner Aisslinger and developed with a South Tyrolian team, the FINCUBE was created 1200m above sea level near Bozen in Northern Italy, with a brilliant view of the famous Dolomite mountains.
Made entirely of local wood, the building provides 47 m2 of living space with a minimal CO2 footprint. The design is minimal, material-orientated, and in close touch with nature–the wooden space with a 360-degree triple glazing is furnished with a second facade layer, producing shade and giving the building a unique overall mushroom-like monoshape.
FINCUBE, Bozen, Italy, by Studio Aisslinger
Build a house for a poet. Make a house to dream, live, die. To read, write, think.
The Field Chapel is a project designed and executed by the students of an Advanced Design/Build Studio at the Illinois Institute of Technology College of Architecture in Chicago for a ecumenical church co-operative in Boedigheim, Germany. The task of the design was to create a place of spirituality… as “an interdenominational chapel, a space for people who are in a search for God–a place for quiet reflection, but also one that welcomes hikers and cyclists who appreciate a rest stop that has a sense of beauty.”
This museum is a neutral frame for the display of art, an empty canvass to be filled with paintings. It is a beautiful but blank container, a scaffold, to be completed by its contents. We are interested in openness, in unknown possibilities in the future, in Architecture as infrastructure. We have created compelling space in the most discreet way, avoiding the building as an independent sculptural object, and using space and light to produce form.
Approaching the house, it seems monolithic, almost hermetic. Two incisions divide the building, which sits prominently on a relatively level hill, guide guests to a small entrance niche and offer a view of the introverted courtyard to the north. The hard shell opens up towards the valley and the south side, and the extensive glazing reveals the scenery and mountain panorama. The terrace faces the pond and small integrated stream, which blend in with their natural surroundings, lends the courtyard a sense of an open air living room and connects the entrance floor to the grounds via a ramp.
The smooth exposed concrete surfaces find their counterpart in the interior in the tactile and optical softness of the white pine floors, built-in furniture and walls. The character of the house turns out to be bright, inviting and almost homey. Windows and doors in white aluminium bring robustness into play and add to the powerful appearance of the concrete.
Shark Alley House, Great Barrier Island, New Zealand, by Fearon Hay Architects
Extraordinary views in the heart of the city and a small buildable footprint limited by restrictive easements prompted a thin, three-story home with the main living spaces and master suite on the top floor–essentially a one-bedroom loft with 270° views. The visitor enters through a pivoting glass door, where the natural stone gives way to its dressed counterpart, and is immediately greeted by a stair of massive ebonized oak treads floating above twin steel channels, and hanging in a three-story vertical space. Beyond, an etched glass wall captures the projected shadows of a stand of giant bamboo, and a band of clear glass directs one’s gaze out to a private garden.
East Windsor Residence, Austin, Texas, by Alterstudio Architects
Photography by Paul Finkel