This project originates in the architecture plan of the Transparent Japanese House, first presented in 2002. The structure sits alongside the Shoren-in Temple, which was built during the Heian period between 794 and 1185. The idea has been developed into a transparent teahouse, an architectural project incorporating a symbolic Japanese cultural image – to host elaborate tea ceremonies. The tea houses’s roof is made up of overlapping glass planes, supported by a slender steel framework featuring a mirrored surface that camouflages with the glass.
KOU-AN Glass Tea House, Kyoto, Japan by Tokujin Yoshioka
Photography by Yasutake Kondo
The approach for the renovation and extension of the Hopetoun Road Residence is to retain the existing structure as an anchoring element, adding a series of pavilions underneath a floating copper roofline that wraps around the original building. Embracing the client’s desire to maintain a fairly conventional residential structure, the design strengthens the form by creating a gable façade at the front and back with a clearly defined outline. Clad in polished grey render, the gables emphasize solidity and give the house a re-established sense of history and permanence.
In contrast the extensions, composed as ribbons of copper wrapping around the solid structure, sit softly above recessed glazing. As a counterpoint to the verticality of the façade, the thin, single-level roofline expresses horizontality. The copper banding creates various spatial experiences as it interacts with the original house. The tension and balance between old and new are carried into the interiors of the house. The existing structure maintains the intimate qualities of the original house with a series of crafted details. The new areas, made primarily from glass, are open to the green landscape beyond. Prominent use of steel-framed windows is a unifying element throughout the project.
Hopetoun Road Residence, Melbourne, Australia, by b.e architecture
Brasilia was built out on the brazilian savannah in four year during the 60s, based upon a masterplan made by Lúcio Costa. Most of the important buildings are designed by the brazilian architect Oscar Niemeyer. The lay out of the urban plan resembles an airplane, containing two main axes with the main governmental functions in what would be the “cockpit” of the plane. The pilot plan with its huge open spaces, buildings, streets and public squares was meant to be represent an ideal city of future, true to the ideals of modernistic city planning of that time. Today Brasilia stands out as a well planned utopian future city from the past. Whatever the conclusion might be on the urban planning, the collection of buildings stands out as an impressive work of modern architecture.
Brasilia, by Øystein Aspelund
A complete monograph on the work of the influential British-born, Milan-based furniture and product designer James Irvine (1958–2013). James Irvine is an intimate look into the work and life of a design legend. Previously unpublished drawings, sketches, models and images from Irvine’s archives and personal anecdotes and texts from the designers who worked directly with him, including Jasper Morrison, Marc Newson, Konstantin Grcic and Naoto Fukasawa, reveal Irvine’s passions, interests and idiosyncracies like never before.
Perched on a hilltop with sweeping views of a valley below, the tendrils of this new house unravel between the existing oak trees to create a complex layering of architecture and landscape. Punctuated by a single, quiet tower, the balance of the new construction is rendered in small, single-story volumes that rest carefully beneath the tree canopy. Exterior courtyards and interior spaces are sculpted with a similar language and scale, blurring the boundary between building and site.
Oak Knoll Residence, by Aidlin Darling Design
A concrete cartoon monkey holding a tray forms this table by Spanish designer Jaime Hayón for manufacturer BD Barcelona Design as a new piece added to the Gardenias Collection. Hayón’s table is shaped like a monkey from the waist up, and holds a flat tray above its head like a waiter. It is made from solid architectural concrete resin, making it suitable for indoor and outdoor use. The form of the cartoon monkey – with one hand supporting the platter and the other scratching its head – is created using a mould based on Hayón’s drawings.
Monkey-shaped table, by Jaime Hayón, for BD Barcelona
The property, a collaboration with architect and interior designer Jolson and Eckersley Garden Architecture, comprises just ten residences, including two penthouses. Jolson’s holistic approach to exterior and interior design is expressed in a rigorous three-story form with a sculptured façade that engages with the calm and nurturing streetscape. The entry is encased in a woven metal veil which draws dappled light into the street-front residences, allowing interior spaces to engage with the tree canopies outdoors. Ground-floor residences with private gardens dissolve the distinction between indoors and outside, creating borrowed exterior rooms. Within each home, adaptable spaces allow seamless flow. A palette of stone, timber and steel is neutral, textured and timeless. Davis Avenue promotes a living experience that is simple and considered.
Davis Avenue, Melbourne, Australia, by Orchard Piper
Photography by Lucas Allen
A meandering stream collides with the rigid geometry of orchards to provide a setting for this rural residence. It is comprised of earthen masses which bracket the landscape and protect the interior from intense southern sun. The resultant open space is used for living, cooking and dining. A cantilevered roof gathers the space, making inside and out feel as one. Concrete, steel, reclaimed wood and water are employed to enhance the connection between building, landscape, and the surrounding agricultural vernacular.
San Joaquin Valley Residence, by Aidlin Darling Design
Group of low laminated and glued glass round tables, consoles and shelves characterized by a special iridescent multicolored finish; the nuance varies according to the incidence angle of the light and to the vantage point. Objects with magical and ethereal appearance emerge. Presented at the Salone del Mobile 2015, available in transparent glass or acid-etched glass.
Shimmer, by Patricia Urquiola, for Glas Italia
Some prismatic volumes come out from the four stone sidewalls, thus enclosing the space and differentiating each room. The area between the rooms is covered by a timber roof acting as a hall and a connector. The opening sequence of the gaps of the home located in a residential area surrounded by large pine forest reflects the hierarchical order of the outdoor areas. The aim of the proposal is the creation of different outdoor areas linked to the rooms inside, according to their level of privacy. Each room is differently high according to its use and spreads its program on a single level, except for the bedrooms’ bay. This operation generates a cross-shaped plan that arranges the external space. The materials, together with the raking light from a longitudinal roof light, produce a warm and cosy atmosphere. The timber volume works as a connector and distributor of the different rooms, and at the same time opens to all the outdoor areas. The volumes containing the living room, the dining room and the kitchen, however independents, are visually linked because of their position, making the house wider and more transparent. The other two volumes host the main bedroom, two bedrooms on the lower floor and a studio on the upper floor. A continuous veranda enlarge the rooms, generating outdoor areas that open and extend the rooms.
A House Surrounded By A Pine Forest, Valencia, Spain, by Ramon Esteve
Photography by Mariela Apollonio