“Instead of keeping places normally used for movement such as an elevator shaft or stair wells closed, we wanted to open them up to collect light, using them as lightwells to maintain the lighting coming in from above. As light travels downward through the lightwells, exterior ‘bar graph’ like apertures maintain lighting on the lower levels, and gradually decrease in number towards the upper levels. This lighting design, using the building’s positive-negative relationship between interior and exterior, makes uniform lighting on each floor possible.”
This project was developed for the Vitra furniture store located in Sao Paulo, Brazil. The materials used in its most extreme condition, the concrete work is in plain sight and without consideration to the finish, and rebar is left exposed in the back of the volume.
The building site borders a water filled lime quarry that offers dramatic views over what has become a lake. The entrance side is facing a road with some traffic and is hence a rather closed volume. The part of the building facing the lake is more open, through the generous windows the inside of the house integrates with the surroundings. Most of the interior fittings and furniture are special designed for the house in question.
Villa M 2, Malmö, Sweden, by Lindvall A&D
Proposal for the new Perot Museum of Nature & Science in Dallas. The museum is designed to engage a broad audience, invigorate young minds, and inspire wonder and curiosity in the daily lives of its visitors.
Perot Museum of Nature & Science, by morphopedia
The Nomiya restaurant is replacing the Hotel Everland on the roof of the Palais de Tokyo for one year. Designed by the artist Laurent Grasso, the glass cube is part of the ‘Art Home’ culinary project by the Palais de Tokyo and Electrolux. The Nomiya concept developed for the Palais de Tokyo is a project that’s both inspired and named after the tiny Japanese bars. In the creation of Nomiya, Laurent Grasso was assisted by his brother, Pascal Grasso, an architect. Nomiya Space is a rectangular glass box about the size of a shipping container. “We tried to create an overall impression of airiness, transparency, floating,” said the French artist Laurent Grasso.
Paraty House’s two reinforced concrete boxes, sit atop each other, connected on the mountainside of one of the islands of the colonial city of Paraty and Angra dos Reis (between São Paulo and Rio de Janeiro), like two modern prisms between the large colossal stones of the Brazilian coast. The building projects outward from the mountain, almost onto the beach, in an 8m cantilever. The house finds balance in the topography of the land, creating an extensive open doorway and living space in the practically untouched nature. Paraty House features a furniture collection showcasing 20th century design, including works by many well-known artists.
The residents arrive by boat. After stepping out onto the sand a metallic bridge positioned over a crystal-lined reflecting pool leads to a set of stairs connecting to the lower volume. This volume contains the living room, kitchen and service area. The continual internal area has a 27m span and huge glass windows to take advantage of the view of the sea.
The client’s desire for the home to have a perception of substantial private space has resulted in the development of a spatial program that internalizes spaces such as pools and gardens normally regarded as external to the envelope of the house. By zoning spaces such as the bedrooms and servants’ quarters on alternative levels, i.e. 2nd storey and basement levels, the ground plane is freed from walls that would have been required if public and private programs were interlaced on the same plane.
The site is approximately 25m wide by 48m deep, and because of the intermingling of internal gardens and column-free vistas, there is a continuous and unbroken visual depth of 40m that ties together the entrance foyer, swimming pool, formal living area, internal garden court and formal dining areas.
Environmentally, the contiguous and interconnected space encourage the slightest breezes, whether they are prevailing and therefore air-movement is horizontal, or convectionally circulated, which the courtyards help generate. For the owner, it is the experiential serenity that unencumbered space, a gentle breeze, dappled sunlight and the hush of water rippling on a pond that is priceless in our dense and busy urbanscape.
Enclosed Open House, Six Ramsgate, Singapore, by Wallflower Architecture + Design Photography: Albert Lim
This house produces a spatial experience that excites the senses by promoting light open plan living which is unusual to this type of terrace house. This residence brings a balance between nature and contemporary living in a renovation of an Art Deco style terrace.
São Paulo, January 21, 2002
“It is ten o`clock at night. Very hot. I use this moment of rare calm and solitude to design the new house. I look through the window and parked in front of the building is a BMW X5. A young man of about 27 slides out of the car with a stunning blonde fearfully clutching her Prada bag. An almost-black, almost-beggar approaches asking if he can watch the car for R$ 5,00. They go into a Japanese restaurant. On the radio, which I will turn off within ten seconds, there is talk of the most recent kidnapping and a prison rebellion. I read my notes of the first meeting with the clients, a couple in advertising. We spoke of an enormous library in the living-room with double high ceilings, enormous windows opening completely to the garden, a pool 3 x 30m, a kitchen with an orange lunch table in the center, two symmetric marble staircases lit by focused natural light, a precisely detailed work studio, spaces of rare and elegant proportions which always relate to the exterior differently, white textures, an Eero Aarnio ball club chair, minimalism, the 60’s, electronic music, Stockhausen Cage, the latest issue of Visionaire magazine, a recipe for spaghetti al mare and finally “My Uncle” by Jacques Tati.”
“I think of a single enormous volume wrapping everything: a white box. In São Paulo, we don’t need to be concerned about environmental coherence; it is total chaos, the most absolute chaos. In this city, the world’s ugliest, which overflows energy, vibrant like no other, loved and hated, anything that is projected will be totally integrated into the city. Ah, yes, don’t let me forget an enormous wall protecting the house, covered in natural wood (maybe from the last tree of the Amazon), and which, certainly, will be completely covered by graffiti, giving the final touch in perfect harmony with the environment.”
From a humble architect of the third world. – Marcio Kogan