Merricks House, Merricks North, Australia, by Robson Rak Architects
Our wood airplane models includes Supermarine S.6B, originally built with Rolls Royce engine designed by Reginald Joseph Mitchell. The machine was the fastest airplane at the Schneider cup with speed of 547 km/h. The another model presents unique Savoia-Marchetti S.65 with two propellers. It was developed in 1929, but never entered the race due to technical problems.
Called Schneider cup, the race is the most famous airplanes race in the history. Specifically created for seaplanes only, Schneider cup was founded by financier, pilot of the baloon and airplane enthusiast Jacques Schneider (1879-1928) in 1911 as a platform for technical development of the seaplanes, which were predicted as airplanes of the future. Eleven races were held during 1913 – 1931 in the USA, Italy, United Kingdom and France. There were pilots from these four seaplanes superpowers only, who competed for the main prize, the sculpture of a girl with wings on the sea level. In 1927, 1929 and 1931, the race was won by English pilots on Supermarine S.6B airplane, so the prize remained in the UK for all the time. Today, you can see it at the London Science Museum.
Schneider Cup Airplane Models, by OKOLO
Allied Works was commissioned to design a residence, guesthouse and private gallery on 350 acres in Dutchess County, New York. Located on the eastern slopes of the Hudson River Valley, the site consists of rolling hills, open meadow and dense hardwood forest. Each of the three buildings responds to a particular landscape. Collectively, the estate and its three primary structures create a range of sensory experiences and sites for artistic interpretation.
The main house lies at the head of a large meadow, providing sweeping views of the valley and mountains beyond. The residence takes the form of an orthogonal helix sited at the intersection of three landscaped courts. These are bounded by a series of stone walls that extend into the landscape. Above, the helix is enclosed by a skin of glass panels – transparent, translucent and opaque – that mediates light and views. The surface of the helix becomes the canvass for a site specific video installation by Doug Aitken. Entitled “Light House”, the 360º projection creates stunning contrasts with its surroundings, or alternately allows the house to merge back into the pastoral landscape.
Dutchess County Residence Main House,Dutchess County, NY, by Allied Works Architecture
Buy the book:
Allied Works Architecture: Brad Cloepfil: Occupation, Published by Hatje Cantz, English, 2011. 440 pp., 481 color ills., 12 foldouts, 25 x 31.4cm, hardcover, ISBN: 9783775728386, Buy it here: Amazon
Each of the eight different cushioned forms are made from a high-density foam, varying in shape and height, creating an ever changing seating landscape of pure lines supported by natural oak hardwood feet. Accompanying auxiliary tables can be used in combination with the greater collection.
Common Modular Sofa System, by Naoto Fukasawa, for Viccarbe
Contemporary glass and steel haven on 6 acres overlooking the Peconic Bay.
Clearhouse, Shelter Island, New York, by Stuart Parr Design
Japanese design studio Nendo has recently presented the new Nendo w132 lamp for Swedish manufacturer Wästberg.
A lighting fixture made by assembling its parts: the shade, post and stand. The height and form of the light can be easily changed by adding and rearranging the components. By attaching the wire unit to the shade, it becomes a pendant lamp. Adding a longer pole to the desk lamp makes it a floor stand. The shade is also available in three different shapes: a cone, sphere and a cylinder.
For the 50th anniversary of Hans J. Wegner’s Shell Chair, manufacturer Carl Hansen & Son has teamed up with textile brand Maharam to release 20 special versions of Wegner’s iconic design.
The Shell Chair has long been viewed as one of Hans J. Wegner’s strongest designs. It first saw the light of day in 1963, but it took 35 years before it enjoyed its popular breakthrough and received numerous design awards. Through its unique silhouette and superior comfort, Wegner demonstrated that he had truly achieved what he had set out to do: create the ideal shell chair.
Carl Hansen & Son: The Maharam Shell Chair Project
Located between the Atlantic Ocean and a freshwater pond, this residence is for an adventurous couple and their four sons. They wanted a house for their large family and numerous guests with a lawn, swimming pool, pool house, garage, and sports courts on a site with a limited building envelope due to coastal and wetland zoning. The large program, relatively small footprint, and daunting regulations dictated a building envelope densely packed with program that stood as a barrier between the ocean and the pond. Thus the design process was one of subtraction rather than addition: carving away at the solid mass of the house to reconnect site features and views and to distill the experience of the place.
Spaces run the full width of the house with floor to ceiling sliding doors on both sides. The spaces create apertures through which views, light, and air completely penetrate the house, dissolving its mass. Passersby see directly through the house to the sky and landscape beyond. With the sliding doors open and recessed into the adjacent walls, interior spaces are transformed from formal rooms to open pavilions, merging seamlessly with the site.
To accommodate the extensive program spaces are nested within one another. Operable partitions pull out from the walls of the living room, carving out a media room within the living room when privacy is desired. Conversely, with the partitions open, the media room merges with the living room for large gatherings. The thickness of the wall separating the dining room and kitchen is also cut away, utilizing its depth to accommodate a wine rack that also functions as a light fixture.
The process of carving is applied at the material and detail level as well. The 5/8” corten steel plate that clads the base of the house is waterjet cut into a delicate pattern that defies its mass. Inside, corian is employed for the ease with which it can be milled. Corian countertops are cut to form towel bars, bunk bed frames are carved to create ladders, cabinet doors are recessed to form handles, and wainscoting is subtly etched with meaningful words chosen by the clients.
Materials were chosen not only for their workability, but also for their durability in the coastal environment. Corten steel siding is zero maintenance despite being relentlessly sandblasted by the wind. Cedar siding and screens are finished using a Victorian technique in which the iron sulfate in a blend of white vinegar and iron filings reacts with the tannins in wood, creating an ebony finish that penetrates through the material and will not require refinishing. The lack of harsh stains or finishes reduces the ecological footprint of the house. Geothermal heating and cooling as well as vegetated roofs further reduce the environmental impact. Using the design approach of sculpting away rather than building up, the house is pared down until the experience of the extraordinary site is dominant.
Sagaponack House, Sagaponack, NY, by Bates Masi + Architects
Photography © Michael Moran
There is an apartment in Le Corbusier’s famous Cité Radieuse (radiant city) in Marseille, which is almost completely preserved in its original 1952 condition. Appt. No 50 is privately owned and it is thanks to the generosity and passion of its owner/occupant that the place is made accessible to a wider public during the summer months of each year. As proof that Le Corbusier’s visionary Unité d’Habitation has the same vibrancy today as when it was originally conceived the apartment is turned into a temporary stage for the ideas and works of contemporary designers.
A short series of scenographic installations has been realized over the years; Konstantin Grcic’s project is the third in line following Jasper Morrison (2008) and Ronan & Erwan Bouroullec (2010). Apart from placing a selection of his favorite furniture and objects Grcic decided to tag the walls of the apartment with four blown up scans from an original punk fanzine.
“The punk motifs are tempting a slightly devious link between two completely unrelated worlds: Le Corbusier’s architecture and punk rock. Without forcing the idea of common grounds, I find that both have a rawness and uncompromising spirit which I have always found compellingly beautiful. Bringing both cultures together in this project felt most inspiring and, in the end, surprisingly fitting”, explains the designer.
15 July -15 August 2013, Cité Radieuse, Unité d’habitation, Le Corbusier Appartement 50, rue 280 boulevard Michelet, Marseille, Photography by Philippe Savoir & Fondation Le Corbusier / ADAGP, via: Domus