Located in the historic district of Pied de La Plagne, in the village of Morzine (French Alps), this ancient farmhouse was singled out by the municipality as a landmark for traditional 19th century local architecture. Preserving the house overall appearance was of one of the project’s key challenges. Revisiting traditional techniques, architecture firm Jérémie Kœmpgen Architecture has converted it into a luxurious and elegant rental villa.
The idea is to move through this house between four “blocks” steady as rocks, located at each corner of the building. Each independent unit forms a suite with sleeping area and amenities. Between these four blocks, the remaining space is occupied by a succession of stacked floors at different levels in the framework. This continuum of generous space welcomes the activities shared by the inhabitants: cooking, dining, watching a film, conversing in the living room, warming up around the fire.
A uniform cladding wraps the whole farm. One of the challenges of the project was to preserve its appearance, while filtering light into the heart of the building. The traditional technique of decorative cut-outs within the wood strips was used to perform specific perforations within the planks. The design of this simple and contemporary pattern is consistent with the equipment and techniques used by the local carpenter for cutting spruce slats. These cut-outs recall the disjointed battens of the traditional barn, used for drying hay.
Historic industrial design icons such as the Starship Enterprise or the Citroën’s steering wheel were inspirational when designing the w126 uplighter. Admittedly two quite technical examples, but this is a lamp that demanded both highly advanced engineering and a bit of iconicity. Two powerful and separate LED light sources, one up and one down, with separate dimming allows you to set the light to any desired ambience. No need for a manual. Two simple touch buttons makes operating instinctive. However, this lamp does not fly through outer space, nor does it roam the highway, but stands in an architectural context. Significant in expression, yes. But reduced in form and shape to feel at home in your room.
w126 Lamp, by Claesson Koivisto Rune, for Wästberg
“It’s a small table with a moderate design, small dimensions and precious look. The 8mm thickness and the rounded edges give it a particular strength. A simple and creative solution to furnish every corner of the home with a touch of colour chosen among lilac, transparent, amber and red.”
Cup Table, by Ichiro Iwasaki, for Discipline
XTable is a manually height adjustable desk. A piece of office machinery that accommodates multiple working positions and daily reshuffling. XTable uses manual kinetic power instead of electricity for height adjustments — saves energy and keeps users active. All technical features are constructively integrated in the table top. It uses a century old principle known from carjacks, ironing boards and other iconic tools. The principle coupled with a desk is a radical redesign of the traditional office desk. XTable is designed with an optional storage solution for office supplies and other belongings.
XTable, by KiBiSi, for Holmris
For the first time Google unveils its data centers, including those located in Belgium, Finland and the United Dtates.
Photography: Google Data Centers
Contained within a single tree is its unabridged chronicle
Year by year, never skipping a beat, it records its history slowly.
Some lines speak of seasons of plenty, while others cry of famine.
The size of the rings are never the same.
Each engraving bears witness to battles waged in the name of survival.
To observe such is to humble ourselves to nature’s love of life.
“This celebration was created by layering upon the chair’s beautiful geometric shape, a complex and organic graphic of life. My hope is that the Artek “Stool 60″ will evoke the bounty of nature as seen by the passage of 80 years of time.”
- Nao Tamura
Artek Stool 60: Alvar Aalto: Rings, by Nao Tamura, for Artek America, The Design Trust for Public Spaces Auction
This new structure at the end of a long garden is a flexible design solution to a complex brief, which called for a quiet space for meditation, work and guest accommodation away from the main house. Operating within the limitations of permitted development for a garden shed, Paul Archer Design divided the building evenly into interior and exterior enclosures. The walls of the pavilion are deliberately ambiguous, separated from the roof plane by large areas of glass, while the side facing the house is cut cleverly into a series of mirrored glass slats illuminated by the sunlight from behind.
Inside, views are restricted to the boundaries of the sanctuary, editing-out the suburban landscape beyond, while double sliding doors allow the space to flow seamlessly out into the courtyard when desired. A timber storage wall incorporates numerous functions, including a fold-down desk and bed, transforming the use of the pavilion according to which component of furniture is deployed.
Manuel Bougot’s interest in Le Corbusier’s architecture began in the 1980s when he worked on Caroline Maniaque’s thesis in architecture–on the Jaoul Houses built in 1954 in Neuilly, France. From 2006 onwards, Bougot renewed his interest in Le Corbusier, attending talks on Chandigarh and photographed the only building the architect ever built for himself — a cabanon (a summer cabin) in Roquebrune- Cap-Martin. Photographing Chandigarh was therefore necessary to further any understanding of Le Corbusier, the urban designer and his philosophy about architecture and modernism.
The idea of creating Chandigarh, a new city post Independence, free from the shackles of history, unbound and a symbol of modernity belonged entirely to Jawaharlal Nehru. In 1949, on Nehru’s invitation, Swiss-French architect, Le Corbusier began his Chandigarh experiment, which became an extraordinary laboratory of architecture and town planning. Together with his cousin, Pierre Jeanneret and a team of architects, Le Corbusier conceived and designed a way of living for a people whose culture and life he was completely unfamiliar with. Sixty years later, it is this human encounter with Corbusian architecture, which intrigued Bougot enough to keep returning to Chandigarh over two years to make photographs. Apart from photographing the landmark institutional buildings that define Chandigarh, Bougot also takes the viewer into private spaces — homes and villas, which borrow elements from the Corbusian vocabulary. It is through this navigation of public and private spaces that Bougot’s photographs explore the discordance between the architecture and utopian ideals that inspired it. At the same time, Bougot does not shy away from observing the neglect of the monuments of high modernism in India. Bougot’s photographs don’t dwell on nostalgia and his gaze is not uncritical. His carefully constructed and muted colour photographs reveal much more on closer inspection–a highly nuanced and refreshingly different view of contemporary Chandigarh.
Located in Venice, Caliiornia, a beachside community characterized by small lots (30′ wide x 120′ wide), an eclectic mix of architecture and a unique blend of personality. While the tight square footage of the lot and an existing tree constrained the organizational possiblities of the home, the connection to community, the need for privacy and security, and interest in natural lighting offered endless possibilities
The 2,700 square foot singe family residence draws upon the site and context for inspiration by referencing a specimen pine on site and reinterpreting two other trees removed as part of the construction process.The trunk diameter of the pine is nearly five feet and the canopy over sixty feet across, so it clearly serves as the most dominant feature of the site (and nearly the entire block). Since removal was not an option for the clients, the parti of the house was organized around the tree’s location on site; near the back and virtually in the middle. This organization maximized the livable square footage of the house while minimizing the risk of damage to the tree. In reality. the plan of the house is quite simple and if left untreated could resemble any number of stuoco homes in the area. Exploring options through the exterior skin offered a dynamic expression of the client’s taste and character as well as the sculptural qualities of architecture.
Walnut Residence, Venice, Caliiornia, by Modal Design