A project commissioned to help the war effort. Exhibited at the Art Institute of Chicago, 1945: Creativity and Crisis, Chicago Architecture and Design of the World War II Era
Mobile Penicillin Laboratory: Model, 1943, by Bertrand Goldberg, (1913-1997), Permanent Collection Art Institute of Chicago
C18 Architects has built a residential house with a studio for the jewellery designer Georg Spreng and his family. Towards the street the building is closed; it attracts attention with its cladding of white square tiles. The buildings cubic shape also distinguishes it from its neighbours. Even if the house is closed towards the street, it doesn’t close itself to the neighbours. A tower room with a window facing the street positions the building in the neighbourhood. No fence hinders visitors from entering the premises and looking over a wall onto a pond in an open atrium and into the living area.
C18 Architects have designed an exceptional house. A house which gives you lust, makes you lust for living and lust for the countryside. And as unconventional as it may be in the neighbourhood – it fits in. It is a known fact that it’s not easy to pull the wool over the eyes of people from the Alb. Life was too hard to risk relying on somebody else without question.”
- Christian Hol
This Residence for an artist calls for the restoration of a historically significant classical Chinese Siheyuan Courtyard House in Beijing, with a new building addition within its compound.
“The house is about 200 years old. Here, we have had the budget to create a house that belongs to old beijing and to the modern city. It is simple, free of ornament. The houses, although narrow, are deep, you enter into high-walled entrance courtyards and then into inner courtyards that are double-height living rooms. Behind the kitchens are gardens to coutyards. And on top of the bedrooms, we have roof terraces courtyards within courtyards, offering privacy, daylight and space”.
- Pei Zhu
With it’s an octagonal design that’s part Jetsons, part Bond, John Lautner’s Chemosphere House is considered a masterpiece of California Modernism. Perched on concrete poles, the home is reached via an inclined cable railway. The landmark Chemosphere home in the Hollywood Hills and its owner, publisher Benedikt Taschen, were profiled in a 2005 Home cover story. “What was great about Lautner is that he had this dualism about nature and the city,” Taschen said at the time, noting that one side of the house was “pure nature,” with skunks, bobcats, coyotes and deer, while the other side was “pure city,” the vast San Fernando Valley.
The career of the maverick architect John Lautner (1911-1994) spanned more than six decades, yet he is little known outside the architecture world, even though his buildings have starred in movies like “Diamonds are Forever” and “Charlie’s Angels.” Man’s relationship to nature and the universe intrigued Lautner and informed his designs, from coffee shops to plans for endless cities. Unfolding from the hills, nestled in canyons, or hovering above city skylines, Lautner’s residential projects have had influence on some of today’s most important architects — Frank Gehry, Zaha Hadid and Rem Koolhaas, among them.
Chemosphere House, 1960, Los Angeles, USA, by John Lautner
Long overshadowed by modernist contemporaries Rudolph Schindler and Richard Neutra, John Lautner and the homes he built in Southern California are set to receive unprecedented attention thanks to the publication of a book published by Rizzoli. The book details Lautner’s inspirations, philosophies and legacy, not the least of which is the Chemosphere, originally derided by some critics as a silly fantasy.
Between Earth and Heaven: The Architecture of John Lautner, Edited by historian Nicholas Olsberg
Buy it here: Amazon
Located near the largest park in São Paulo, the Casa Corten site is long and narrow. The facade of the house is made of Corten weathering steel. The dialogue between the rusty texture on the outside and the stone, wood, white mortar and the glass build the space. The front door of the garage is made of vertical wooden strips and opens entirely onto the street. The main entry door to the house is also made of wood and, despite being of a color similar to metallic plates, the texture and the presence of the material itself, distinguishes the suspended steel box of the frontal façade. The back façade is composed of a glass curtain that confers transparency to the opaque steel box and a suspended volume which contains movable wooden brises. The interior walls of the lot are made of Stone.
The interior plan for the ground floor is simple: an ample room with a ceiling height of 5.2m and four folding doors that completely open out to the deck and external fireplace, dissolving the limits between interior and exterior; in the living room, a free wooden volume houses the kitchen and utilities program; between this volume and the entrance door there is a staircase that leads to the mezzanine.
The mezzanine, on the wooden volume, is a singular area for the home-theater. From here there is another staircase leading up to the third floor, to the private program of the house, the three bedrooms. The master bedroom, in the back, has a wooden panel of brises to filter the light and can remain completely open.
“The plan was to build the villa around the big fir tree as the center of the site, with a row of pine trees as the main view. Initially, we had planned to build a shell structure with three dimensionally curved surfaces, and the C shaped section was to surround the fir tree and the plan of the building resembled the letter J. The scenery conjures a SF film-like image, in which locals inhabit over an abandoned spacecraft. With time, trees start to grow encircling the spacecraft, harmonizing it into the landscape.”
“Being in sync with nature isn’t about yielding to nature – it’s about coexistence. The existence of the structure depends on its power to endure nature”.
- Kotaro Ide of ARTechnic
Holiday Villa, Karuizawa, Japan, by Designer, for ARTechnic
“I wanted to wrap one material around the entire house—as sort of an architectural lingerie,” explains Matthew Trzebiatowski, about the rusted wire mesh and corrugated steel swathing the exterior of his Xeros Residence in Phoenix, Arizona. In designing under the name the one-bedroom, 2,200-square-foot home for his wife, Lisa, and himself, Trzebiatowski, seized on a lacy, if gritty, mesh to enclose open sitting areas and screen the glazed walls…. “The impulse was primarily aesthetic,” Trzebiatowski says, noting, however, that the wire mesh both cuts the sun’s glare and affords privacy, while the corrugated steel – with insulation, affords warmth when temperatures drop.
Xeros Residence, Phoenix, Arizona, USA by Matthew Trzebiatowski, at Blank Studio.
More here: dwell
Located in the heart of the historic neighborhoods of downtown Phoenix, this residential remodel and addition demonstrated a common predicament within historic district neighborhoods, which have become ideal locations to live; however, the home sizes are not conducive to modern family requirements and amenities. The clients expressed a desire to remain in their current home but required a dramatic increase in living space. With this in mind, [merz]project developed a new 1400 square foot addition that creates a dialogue with the existing house through experiences of thresholds, courtyards, and manipulation of light. By utilizing similar structural systems and proportions, but clearly different materials, the resulting zinc-clad structure possesses a pre-patina’ that provides an aged appearance that contrasts with the older structure.
The Openhouse is embedded into a narrow and sharply sloping property in the Hollywood Hills, a challenging site that led to the creation of a house that is both integrated into the landscape and open to the city below. Retaining walls are configured to extend the first floor living level into the hillside and to create gardens on two levels. The front, side and rear elevations of the house slide open to erase all boundaries between indoors and out, connecting the spaces to gardens on both levels.
On the banks of the river Mur, on the corner of the Südtirolerplatz and the Lendkai. Graz has a new architectural landmark, an extraordinary exhibition hall designed by Peter Cook and Colin Fournier. Kunsthaus Graz, better known as the “friendly alien”, is meant to inspire its curators with an interior as a “black box of hidden tricks”, its outer skin is a media facade which can be changed electronically.
Kunsthaus Graz, by Peter Cook and Colin Fournier.