An unparalleled view west, over the Bright Leaf preserve and up the Colorado River, and the desire to live casually amidst a collection of mature live oak trees combined to make a powerful circumstance for this family of four. The new house emphasizes view and a dynamic spatial sequence while at the same time creating an abstract backdrop for the serendipity light, circumstance and view.
The visitor arrives, meandering under a grove of ancient trees into an intimate entry sequence of limestone, vertical cyprus and verdant planting. Still unaware of the expansive panorama to come, views are revealed slowly – with carefully framed vistas inviting expectations of what is to come, and the pursuit of which leading to new discoveries.
Oriented for optimal cross ventilation and protection from the sun, the Lakeview house also utilizes geothermal HVAC systems, a photovoltaic array, and FSC certified woods throughout the building.
Lake View Residence, Austin, Texas, by Alterstudio Architecture
Photography by Casey Dunn, Whit Preston, Patrick Wong
For Another Country’s 5 year anniversary exhibition The Dorset Series, during London Design Festival, Studio Dessuant Bone were invited to design a limited edition object inspired by the brands Dorset origins.
Jurassic Light 117 is inspired by the Jurassic Coast’s Durdle Door, an iconic landmark of the Dorset coastline. The cylindrical negative space created by this arch has been interpreted to create the simple shape that forms the light. Jurassic Light 117 employs Portland stone that carries impressions of fossils from the Dorset area – so acting as a constant reminder of the origins of the design.
Material: Portland Stone & Brass
Jurassic Light 117, by Studio Dessuant Bone
Located on a windswept coast line, Moonlight Cabin is a place to retreat from and engage with the landscape’s ephemeral conditions. It is a small footprint shelter (60m2) that explores the boundaries of how small is too small, challenging conventional notions of what is actually necessary in our lives. It is designed to be passively environmentally responsive, ultimately reducing energy use and running costs whilst maximising occupant amenity. The plan is conceived as one volume with kitchen, bathroom and utilities inserted within a central island pod which effectively unlocks the corridor to become an important habitable space. The built form is fully screened in a spotted-gum rainscreen that acts like a ‘gore-tex jacket’ to protect the cabin from the elements while the timber is free to move naturally in the changing climatic conditions. Operable shutters enable cross ventilation and adaptability, open or closed, partially shut down or secured when the occupants leave and reopened when they return. Moonlight Cabin is grid connected and rainwater is sustainably harvested.
Moonlight Cabin, Victoria, Australia, by Jackson Clements Burrows Architects
Photography by Jeremy Weihrauch
The house consists of three volumes stacked in a pyramid shape, whereby the two lower ones contain the living areas and the upper volume houses three bedrooms; these three ‘blocks’ were made to stand out by using different materials on their facade, namely stone and metal for the lower ones and wood for the upper one. On top of the whole house sits a pavilion with a barbecue area and a sunbathing area which also acts as a viewing platform, offering a 360-degrees view of the city.
Two gardens were created on either side, the one at the front functioning as an open-air lobby featuring tropical plants that partially screen the house from the street, while the garden at the rear includes a swimming pool and a sauna. The interior of the house was given a simple concrete floor and was furnished with contemporary, understated furniture.
Casa Lara, São Paulo, Brazil, by Felipe Hess
Photography by Ricardo Basseti
At the moment a sushi chef makes a sushi above a beautiful chopping board stage in tranquil and serious space with a dim light, a sushi atmosphere arises. The act of making a sushi actualizes the stage and creates a food-art which is done in a minimum time. A reclaimed wood counter and a scale of the space which accentuate the stage are naturally derived. Art pieces as valuable as foods are placed around the counter.
The space provides an impressive experience of eating with wabisabi (Japanese philosophy of simplicity and tranquilness) based on the relationship between sushi and space. When people sit at a long table and art as food is provided, we call it a sushi restaurant. This is the beginning place of a sushi restaurant. The store has a new style of a sushi restaurant which is a genesis of it. The new is found in its history. (Makoto Tanijiri / SUPPOSE DESIGN OFFICE)
Sushi Yoshii, Minato-ku, Tokyo, by SUPPOSE DESIGN OFFICE
Photography by Toshiyuki Yano
The building is orientated in east – west direction parallel to the height contours. This marks the border between the two different site characters. In the south a more traditional villa garden is shaped in the terraced landscape, whereas in the east, west and north the untouched nature continues right up to the facade. The building is divided into four very narrow units, each 2.85m wide. This makes the building very naturally adopts its footprint to the terrain. Furthermore are the four units offset to each other both horizontally and vertically. The facade seems to fold itself in the landscape, avoiding trees and boulders and provides light from all points of the compass. A large centrally placed and retractable sky light (3.0 x 2.2m) fills the interior with light and contributes to the transparency of the building.
The interior is almost one continuous room. The building units offset relative to each other creates smaller private spaces within the large room. The family members private rooms have very generous proportions and borders directly to the common “negotiable” room. The relation between negotiable, and private rooms are regulated with large sliding wall partitions. The Construction is carried without any blasting on a plinth foundations. In situ cast floor, and roof slabs are supported with slender steel columns and the outer walls are constructed as in situ constructed wall elements. The roof has a very low pitch and is covered with a sedum-herb mixture.
Villa Altona, by Designer, Sollentuna, Sweden, by The Common Office
Serif is a collection of screens and televisions, which have been designed for Samsung during the past two years. They also designed the interface inside Serif.
Serif is a television that moves away from a preoccupation with ultra-flat screens. Instead, it is an object that can be turned around and manipulated. It can stand anywhere, even on the floor with its own legs. What designers were looking for was a solid presence that would sit naturally in various environments, just like an object or a piece of furniture. In profile, it forms a clear capital “I” shape, its slim body broadening to form a surface like a little shelf at the top.
Serif, by Ronan & Erwan Bouroullec, for Samsung
The owner of this Brighton house required an interior that reflected the geometry of the building’s architecture. To achieve this brief, Mim Design undertook full planning, interior architectural design and decoration. Each view has aspect to a key interior feature or form, and each element within the house proportionally creates a sculptural form. The interiors have a sense of balance, calm and space.
From the front entry, leading through to the lounge with its elegantly curved fireplace, the space feels soft and warm. Light streams through the windows, and natural elements such as smoked oak floors, elegant grey marble, and black stained timber, create a muted sense of luxury.
MAH Residence, Brighton, Australia, by MIM Design
Photography by Peter Clarke
The M.A.D.Gallery is hosting “Optical Variations”, an exhibit by French artist Damien Bénéteau, featuring four of his illuminated, hypnotizing monochromatic mobiles. A photographer by training, Bénéteau creates art dedicated to light, capturing it in a playful and energetic way that renders it nearly tangible. Bénéteau’s kinetic sculptures reflect his fascination with how an object’s volume is perceived in various lighting situations and his interest in mechanics and machines. “My greatest influences come from minimalist sculpture, seen in the mixture of geometric aesthetics, austerity and simplicity found in my work” says the artist.
In three of his installations for the M.A.D.Gallery – “Length Variations”, “Circular Variations” and “Spatial Variations” – the French artist plays with pendulums, pairing their oscillating movement with light to create a trio of mesmerizing phenomena. “Sphérolithe”, in contrast, sees the former photographer moving away from the continuous movement of the pendulum, rather letting light emanating from a stationary point speak for itself. The light pulsates like the throbbing of a heartbeat: consistent, calm, calculated.
Operating from his own atelier in the suburb of Paris, Bénéteau, a connoisseur of machinery, uses milling, polishing and metal turning machines to create his structures, each one requiring between three and six months of work.
Optical Variations, by Damien Bénéteau
The western shore of Lake Garda is characterised by its mild climate and richly cultivated landscape. David Chipperfield Architects has built two villas on the hillside looking over the resort town of Gardone Riviera. Both buildings are carefully inserted into the landscape with its olive groves and cypress trees. Their volumes are divided into individual one or two storey structures, which are offset to one another following the topography of the hillside.
The materials are influenced by the region. The stone for the masonry and terraces comes from local quarries. The light roof structure of the pergolas and the window frames are crafted from wood, providing a contrast to the stone. The inner organisation of the buildings further reflects the surroundings. While the auxiliary rooms are located in the rear areas, the living and bedrooms are situated at the front, providing panoramic vistas of the lake and the surrounding landscape. The two buildings were constructed in the context of a larger project, encompassing seven villas, a hotel and an apartment building designed by four architectural practices.
Villa Eden, by David Chipperﬁeld Architects