Two volumes of light – one warm and one cool – one projected to the expansive horizon and one toward the canopy of the desert sky. The 2200sf Dialogue House is a gestalt instrument for touching the full range and specificity of this light, this “place” – day and night, season to season and year to year. At the base of Echo Mountain the main living volume is elevated above work, guest, and the car, furthest from the street on a lateral pinwheel brace of charcoal masonry walls that extend cardinally capturing the site.
The exterior surfaces of the pinwheel walls as well as the main volume absorb and reflect light akin to the “desert varnish” that coats the volcanic geology of the Phoenix Mountains turning silver, red, purple-brown-black during the day only to collapse into silhouettes at night. Thus, “life after work” is simultaneously supported by the apparent thickness and thinness of light. The interior of the street volume is plastered cool white, half terrace – half cool water as a retreat from the city within the city where one can only can see sky. Wind and water activated light is refracted onto the interior surfaces by day and most dramatically at night which provides an animated foreground to the skyline and distant horizon beyond.
Dialogue House, Phoenix, Arizona, USA, by Wendell Burnette Architects
Living spaces feature wide panoramas toward ocean below, while concrete and vegetated walls remind of the rocky and forested setting. On its exterior, the structure visually blends with the wooded context by through its moss-covered roof. Additionally, the topography has been manipulated to control groundwater flow through the site, while being momentarily captured in the courtyard’s pond. The residence’s composition takes influence from the dynamic and irregular qualities of the rocky site. A scattered arrangement of concrete walls act as the main organizational elements, while at times clad in black fiber-cement panels. The resulting spaces provide a range of separate moments of connection to features surrounding the house, including a small tidal basin off the kitchen nook, a ledge of moss covered rock in the bedrooms, and a view back from the court to a swath of deciduous trees. The climax of openness to the site is experienced from the living room, which features floor to ceiling glass curtain walls toward the pacific.
Tula House, Quadra Island, Canada, by Patkau Architects
Photography by James Dow, Patkau Architects
Due to its proximity to the rugged and sloping creekside bank to the west, the house was subject to strict environmental and geotechnical conditions, including a required setback from the top of the bank that pushed the building’s foundation eastwards. The resultant footprint was awkwardly narrow, so to gain back valuable space, a portion of the main and upper floor is cantilevered back out past the foundation, allowing the native creekside vegetation to grow up, under and around as an uninterrupted, wild, forest floor. This reclamation of space is clearly pronounced in the dining room, where it projects fifteen feet out past the concrete foundation wall. By eliminating window frames and extending the glazing panels on all three sides of the room, past the floor and ceiling planes, the space dissolves into the adjacent forest canopy and provides framed views though to the ocean beyond. Tucked into the hill, the front of the house is deceptively modest in scale, set off by the large mature cedar that anchors the front yard. The topography of the site reveals itself as one descends the exterior stairs adjacent to the forest and follows the exposed concrete wall to the main entry. Continuing through to the interior, the wall rises up seventeen feet to help frame the bright circulation volume, with stairs leading to the upper floor and down to the main living spaces.
Russet Residence, West Vancouver, Canada, by Splyce Design
Photography by Ivan Hunter
Pletz lamps blend modernist geometry with a traditional sense of material and craft. Each lamp combines a lathe-turned, hardwood base, hand-rubbed finish, and dyed components. Quality brass hardware, a dimming fixture, a 10-foot cloth-covered cord, and a premium linen shade complete each lamp to produce an heirloom-quality piece. Pletz is the husband and wife team of Aaron & Heather Shoon, and operate from a studio in the Brooklyn Navy Yard.
Pletz Lamps, by Aaron & Heather Shoon
Photography by Elliot Black
With its spaceship-like design, rock and sci-fi melodies and innovative resonance soundboard, MusicMachine 2 (MM2) boldly goes where no music box has gone before. Underneath its futuristic guise, MM2 features all the traditional elements of a beautifully-crafted, high-end music box made by Reuge, the music box manufacturer with nearly 150 years of expertise and experience.
MusicMachine 2 is powered by two independent movements mounted on the starship’s tail section. Each cylinder plays three melodies: themes from Star Wars, The Empire Strikes Back and Star Trek, on one ‘channel’; Led Zeppelin’s Stairway to Heaven, The Rolling Stones’ Angie and The Clash’s Should I Stay or Should I Go? on the other. Small wonder: MM2 was conceived and designed by MB&F and its songs have been selected by their rock ‘n’ roll founder and sci-fi fan, Maximilian Büsser.
One of the biggest challenges of MusicMachine 2 was in amplifying the sound. An ingenious solution was raised and developed by Jeanmichel Capt of JMC Lutherie, who created a bespoke soundboard featuring NomexTM – a type of honeycomb-structured Kevlar – sandwiched between two resonant 350-year-old spruce membranes. Only one in 10,000 spruce trees has the exceptional acoustic properties required.
MusicMachine 2, limited edition of 33 pieces in white and 66 pieces in black, by MB&F
The Barcelona show is something of an intervention, with a diagonal walkway slashing across the famously rectangular floor plan to set up a dialogue with the solitary existing sculpture in the Pavilion, Georg Kolbe’s ‘Alba (Dawn)’, which stands on a small plinth in the smaller of the building’s two reflecting pools. Veilhan has reinterpreted Kolbe’s figure in four figures of descending scale, using different materials in a homage to Mies’ simple, rich palette of glass, steel and marble. The pools have been partly built over, offering visitors new perspectives on spaces made iconic through photography, reproduction and imitation.
‘My curatorial role was focused on researching together with Xavier Veilhan about the history of the pavilion, the characters and conditions that defined its design and how we could connect with that through our project,’ Gonzalo Herrero Delicado explains. ‘It was also important for the Barcelona installation to create a conversation with the rest of the exhibitions.’ The architect oversaw all aspects of the project, from liaising with the MvdR Foundation to secure permissions to finding the local architects, MAIO, to build the final design.
Xavier Veilhan. Architectones, at The Mies van der Rohe Pavilion, Barcelona Spain
Photography by Florian Kleinefenn
The primary organizational elements for this residence are two “L” shaped brick walls connected by a glass enclosed bridge. Mahogany clad walls combine with the smaller “L” to provide a service volume while glass walls combine with the larger “L” to create the primary living spaces and to provide southern and western views toward the lake. The experience of arrival and the wall are intertwined as the wall establishes a threshold between the pine forest and views toward the lake. Entrance to the house is through the wall and into a space that divides the program of the house into public and private realms.
The entry, living and sleeping spaces are arranged linearly to maximize lake views and to take advantage of the southern exposure. The second floor roof and exterior walls are wrapped in copper with fully glazed east and west walls inset from the ends of the copper volume. The glazed wall at the east end provides an abundant and high source of light into the double height entry hall while the glazing on the west end provides light to two bedrooms and views of the lake. The sloping roof and canted front wall are designed to deflect fierce north wind and shed water from intense storms. The geometric volumes are connected to the landscape both by the views from the interior and accessibility to the outdoors.
Throughout the project detailing is minimal and precise. The spaces are ordered and there is a juxtaposition of solidity and transparency. The rigor of the design, the linear organization of spaces and the continuous presence of the wall provide a sharp and intended contrast to the irregular beauty of the landscape beyond. It is this contrast between an ordered human dimension and an unstructured natural condition that elevates our understanding and appreciation of both.
The Buisson Residence, Virginia, by Robert M. Gurney
Photography by Paul Warchol and Maxwell MacKenzie
In a distinct artistic approach that highlights geometry, architecture and engineering, Benedict Redgrove has captured some of the company’s most radical concept cars from the 1960s and 70s – some never seen before – including designs for Alfa Romeo, Lamborghini and Lancia. The series of images which was originally commissioned by Wallpaper Magazine, exudes a specialty in styling, coach building and manufacturing, with Bertone’s vision categorized by abstract angular frameworks, a use of unique materials for standard auto parts and super-sleek interiors built for luxury and functionality.
Photography by Benedict Redgrove, for Bertone Concept Car Design Studio
The home was commissioned in 1956 for Kenneth Reiner, who made a small fortune on ladies hair clips and aviation patents. He worked very closely with Lautner to create this house, and Lautner built elements into the home specifically according to Reiner’s specifications; in the event that the equipment didn’t exist to meet those specifications, Reiner would often design and make the necessary piece for Lautner. Some Reiner – designed elements in the home include “lights that pivot into the ceiling, and electrically-controlled skylights.”
The result of all the efforts of the two men was an incredible home, with “faucet-less sinks that automatically filled with water; a dining table with a hydraulic pedestal that was lowered for cocktails and elevated for meals; a system for heating and cooling that could not be seen or heard; and controls for lights and appliances that were discreetly set into walls and doors jambs,” plus a cantilevered driveway, as the LA Times noted in their obituary for Reiner, who passed away in 2011.