This project involved the design of alterations and addition to an existing Edwardian house of some historical significance which is located in an area with a Heritage overlay. The brief for the house revolved around accommodating a family, including 3 children. The proposal included 3 new bedrooms and activity space to the new first floor at the rear and a large family /kitchen area directly below. The existing house included a new master bedroom / ensuite, study and the maintenance of the original grand dining room and lounge areas. The idea of the house was organised around finding a compatible but distinctive relationship between the existing interior and the new addition and the existing external form and the new addition. This was achieved through the use of a common materiality contrasting black brick for the new against red brick in the old. The pitched external roof forms, a requirement of stringent Heritage guidelines, were expressed as “twin peaked” gable ends that aligned directly with the with the double valley hip roof of the existing house. The external timber clad rainscreen is defined as a one third proportion that aligns directly with the existing slate tiled roof of the existing house. While compatible in terms of proportion and alignment the reductive abstraction of the new exterior and interior, suggests a new relationship to both the immediate garden and the greater surrounding context. Internally the new addition uses white painted timber lining boards and exposed internal black work to define a new family living space. The use of materials normally associated with the exterior of a Heritage house suggests an inversion of our normal reading of an interior that is both surprising and yet reassuring in terms of its familiarity.
Twin Peaks House, by Jackson Clements Burrows, Photography by Shannon McGrath
The sites, around 5000 m2 each and mostly surrounded by golf fields and green areas, have the constant presence of the Andes, high temperatures during summer time and winds from the south. The project seeks to incorporate the landscape in the household daily life, following the client’s request who wanted to spend a long time throughout the year in the exterior spaces. The site has a park towards the north, a street on the west side and another one on the south side, where the main access is located. The house is placed towards the corner of the two streets with the intention of freeing the garden, creating continuity with the park and clearing the views towards the east mountain range.
All the interior spaces are organized around an 8 x 8 m central patio that gathers part of the terrain and incorporates it inside the house. Delimited by the ceiling slab, this patio opens its north face to project the view towards the garden. A water mirror runs across a third of its surface reinforcing this perspective through a porch. The public areas constantly participate of the patio, from the main access to the family room, articulating the service areas towards the west. On the east side, a double-height wall lightly closes the private area without losing its participation of the patio and accompanies the ascension to the master bedroom. From there, it is possible to go out into a vast porch that dominates the landscape, where the barbecue area and the swimming pool are placed at a certain distance using the site in all of its extension. Some peripheral walls are prolonged to direct the views and close the house against the winds and nearby streets. In addition, the slabs extend as eaves to protect tall windows from the sun and to cover the terraces. These architectonic elements radicalize the opening of the interior spaces, deepening their presence from the outside.
Kübler House, Santiago, Chile, by 57STUDIO
“Pétrifications is a project which has been on my mind for some years and which allows me to reconcile my interest in design with the one for literature I had the opportunity to develop while studying it at university. It was inspired by my own experience as a reader who, when interrupted in his reading, too often left his book opened at the page he was reading, on a table or on the floor. It is a collection of five triangular geometrical forms of several different dimensions, made of various kinds of stones, and destined to be used as bookmarks.”
- Krzysztof J. Lukasik
Pétrifications”, ECAL/Krzysztof J. Lukasik
A carefully considered response to a very steep site with understated ‘mute’, gently sloping, roughly rendered walls and a curved concrete roof. Celebrating modern Australian family life, a generosity of space without ostentation that is practical and serviceable.
Yarra House, by Leeton Pointon Architects, in association with Susi Leeton Architects, Photography © Peter Bennets
“My Flat, Mega Farm, Power Plant and Highway are designs that came from my research into public space and architecture and the idealized version of both in toy modelling. On the basis of my research I selected a number of buildings that epitomize today’s zeitgeist. I transformed these architectural types into toy blocks. In doing so I have two objectives. The first is to shed a light on the excessive nature of contemporary large scale architecture — the mega factory — by using the poor and abstract form language of toy blocks. My second objective is to make full use of the contrast between the harshness of contemporary architecture and the illusory children’s world of friendliness and unlimited possibilities cultivated by adults.”
- Maykel Roovers
Critical Blocks by Maykel Roovers
Mass-produced midcentury furniture by the Italian modernist Carlo Mollino can cost a few thousand dollars per piece, and his prototypes and custom works cause greater market stirs.
In 2005 and 2008, Christie’s in New York got seven-figure prices for 1940s oak and maple tables that Mollino created for a marquis in Turin. The designer worked in a vocabulary of hairpin turns, spikes and flanges. He was also notoriously moody and obsessive, and a daredevil who flew experimental planes, scaled mountains and raced cars.
His colorful biography adds to the appeal of the objects. “They have a huge aura about them,” said Jeanne Greenberg Rohatyn, the founder of the Salon 94 galleries in Manhattan.
A show with a few Mollino works from around 1950 (with five- and six-figure prices each) opens on Thursday at the Salon 94 branch on East 94th Street; display cases were designed by the British architect David Adjaye. The exhibition includes an ash bentwood chair and a resin-and-glass bookcase, made for a Turin publishing house, and aluminum boomerang light fixtures from a textile magnate’s apartment in Turin.
On Oct. 23 the Italian government blocked an auction at Christie’s in London that featured 30 pieces of 1950s Mollino furniture, which had long been installed in an Italian industrialist’s country house in the foothills of the Alps. The works, including oak and chestnut tables, chairs, cabinets and ceramic coat hooks, were deemed by the government to be treasures that could not be exported. (They were returned to their owner.)
On Dec. 10 Sotheby’s in New York will offer four 1940s oak chairs (estimated at $100,000 to $150,000 for the set) with split backs that a private collector found years ago at a Los Angeles tag sale. Mollino used the split-back design in ski resort and restaurant interiors, but no one knows where the tag-sale chairs originated.
Defined by a tall peripheral wall and several trees scattered throughout the property, the form follows the stacking of three basic concrete boxes of differing dimensions, the bottom open on the east/west axis and the top two facing north/south. made for a photographer to live and work, the ground level is a large open studio space, characterized by an all-white neutral interior that allows for control over color. Two large aluminum metal doors like awnings swing open to bring the exterior gardens into the space to provide natural light, or can be completely closed off so that the artist may manipulate artificial lights as desired. A free-standing green Formica box contains the bathroom and dressing room and separates the main studio area from the concealed stairs along the wall, lit from the sky, that take the residents up to the kitchen and dining room. This next volume is a single open space with a smaller inset concrete core containing the restroom, kitchen and storage space. The entire northern facade is a uniform fine wooden screen left in its natural dark stain that filters the intensity of the natural light coming in, while still allowing views to the outside with retractable sections; at night this lattice skin projects pixelated silhouettes of the interior as it glows from interior light. a wall of sliding glass panels further insulates the structure and provides cross ventilation. Following the vertical circulation to the next level reveals a living area within a smaller-scale version of the previous mass, containing a vibrant red mashrabiya skin that opens to a rooftop terrace, extending views over the tree canopies.
Our 2010 series on architectural models included the X-House (Casa X), Wallpaper* magazine has published some images of the completed project.
The X House project aims to solve by the definition of a system, language, or even through a unique form, a number of inquiries that rise up when we read the specific given site: how to protect and give protagonism to an impressive pine, that is located on the top of the site, and that makes access and approximation to the house extremely complex from the street; how to avoid deciding between the views to the sea and those to the mountains, and allow both visions in opposite directions; how to neutralize through form the presence of the contiguous constructions, to build up a fake isolation that denies the neighbours; how to double the main views, permitting quality frontal views from the front and the rear of the house; how to resolve so many a priories with a simple movement that answers to all of the previous aims without prioritizing nor explicitly formulating a response to any of them. The form, a unique form, is the result of a long process of search of individual answers to each of those challenges; thus, the form is not an a priori, but an effort to give a unitary response that satisfies each of the questions rose up in the design process.
The X House is also a constructive exploration: a technique regularly used for the infrastructural construction such as bridges and tunnels, is here developed to meet the architectural scale, aiming to incorporate efficiency, and reduction of costs to the construction. The use of a mixed technique based on the application of a high-density concrete allows projecting the material at a high pressure to a single-sided formwork, and to acquire high structural resistance in extremely short periods of time. Thus, it is possible to project continuous 6m high walls without the need to use a two-sided formwork (which would be the regular construction procedure). The house is therefore a living expression of the specific technique, and accumulates in its skin the diverse and continuous knowledge acquired within the process of construction.
The five courtyards articulate the flat continuous space of the house. The continuous concrete ceiling perforated by many square skylights erases the border between outside and inside.
Broken Pitched Roof House, Nakatsu, Oita, Japan, by NKS Architects