Architecture

Architecture

February 26 2010

Vitra Haus, the new home of Vitra's Home Collection, has been covered widely by design media, and not in vain. It is a beautiful example of Jacques Herzog's and Pierre de Meuron's ability to take the ubiquitous stacked-houses concept and still make it look new, interesting and inviting.



Reaching five storeys in height and containing 12 separate houses, Vitra House is geared toward the general public, design-aware consumers who will appreciate the building as well as the Vitra products inside. The entire contraption appears both grandiose and intimate at the same time, with the gray exterior disguising the disheveled heap within the site, while the open glass-walled ends and stark, white interiors facilitate the presentation of residential-scale displays.



Vitra House is the latest addition to the ever-expanding Vitra Campus that started as an industrial park with the manufacturing facilities. Now the Vitra Design Museum--Frank Gehry's first European building opened in 1989 -- the Conference Pavilion by Tadao Ando (1993) and the Fire Station by Zaha Hadid (1993) already provide magnificent visual attraction. Vitra Haus and a new circular manufacturing facility by Kazuyo Sejima/SANAA are this year's entrants to the site.



Weil am Rhein is a German town and a community that is a suburb of the Swiss city of Basel in Switzerland. Weil am Rhein is located by the River Rhine, close to the meeting point of the Swiss, German and French borders. The Vitra Design Museum is the town's biggest draw.



The Basel-based architecture firm Herzog and Meuron was established in 1978 by Jacques Herzog (born 19 April 1950), and Pierre de Meuron (born 8 May 1950). It is known for many prominent international commissions, including the Beijing Olympics' "Bird's Nest." - Tuija Seipell

Architecture

February 1 2010




Casa no Geres, designed by Porto-based Correia/Ragazzi Aquitectos, has received its fair share of international awards and exposure, but we cannot help but show it off one more time. This is the first project by Gracia Correia and her new Italian partner, Roberto Ragazzi. It is a bold statement that hides nothing.



This is also a house that is easy to love from certain perspectives and from others; it looks quite unsuitable for its surroundings. From some angles, the house seems like an accident, some kind of a mishap with transportation containers and building materials. One part of the building is buried inside the hill while another sticks out over the river. It appears about to teeter off the hill at any moment, just waiting to land in its final resting place in the river.

The owners, Mica and Eduardo Pinto Ferreira, have been Correia's clients for more than a decade, and gave her carte blanche to create their dream house on the 5,000 square-meter site by the Cevado river - as long as no trees were cut and the 60 square-meter house (maximum allowed footprint for the site) was made of concrete. The house is located in Peneda-Geras National Park, along the Spanish border in northern Portugal, so the environment and its inviolability were crucial and the rules strict.



But looking out from the inside, the awesome beauty of the home becomes apparent. The simplicity of the structure, the openness of the views and the calm balance of the elements seems to speak the same language as the bleak surroundings. Nature has a way of being beautiful even when it is not, and this house knows that secret.



The warmth and proper scale of the building become even clearer when the illuminated house is viewed at night. It may look like it landed from some other planet, but it appears to be right at home now. - Tuija Seipell

Architecture

December 16 2009

A tactile sense of texture, a romantic play of light, and a reverence of natural beauty are all evident in this graceful, angular villa that seems monumental yet inviting. It brings up memories of hikes up a mountain on Crete where the white ruins of an ancient chapel cling onto the cliffs. But these ruins are on an entirely different island and they are brand new.


 
With its two main blocks at 90-degree angles, the Plus House appears from above to form an almost complete cross or a plus-sign. The opulent weekend villa juts out of a mountainside in a popular holiday area known for its hot springs, in Shizuoka Prefecture on Japan’s main island of Honshu.


 
The architects of this stunning beauty are husband and wife, Masahiro (36) and Mao (33) Harada, who founded Mount Fuji Architects Studio in 2004. Both are avid mountaineers — so much so that they named their company after the country’s highest and most admired mountain, also located in the Shizuoka Prefecture.


 
Plus House shows off their talents at being bold but not grandiose, and at involving the surrounding nature in delicate detail but without giving up the individuality and presence of the building.


 
Overlooking the Pacific Ocean, the deceptively simple two-level concrete structure has private rooms and a bath on the lower level, and salon and kitchen on the upper. The water for the bedrooms and bath comes directly from a natural hot spring. The exterior is clad entirely in white water-polished marble with surface texture changing gradually toward the outer tips of the blocks from rough to mirror-smooth. The interior is also covered in white marble that reflects the blue light from the south (ocean) and green light from the west (forest). - Tuija Seipell

Architecture

November 30 2009

Architects Anton Žižek and Marjan Poboljšaj, both of whom graduated in 1997, are being noticed consistently at European events and competitions for their progressive design work — from interior design and furniture concepts to architecture. They are the founders of Superform, based in Ljubljana, the capital of Slovenia.


 
Recently, Superform created an interesting retreat for a private client by combining two existing buildings in the town of Ljubno ob Savinji, 70 kilometers from the capital.
 
The first house that resembles the traditional buildings of the valley is monolithic and introverted and contains the bedrooms, bathrooms and kitchen. Its main materials are wood and stone.


 
Housing the living room, dining room and a large hall, the second house resembles a boat anchored in the green bay and is more extroverted, open an modern than the first. Its materials are glass, steel, Rheinzink and wood. The combined structure looks bold, yet agrees with its environment and looks entirely livable. Not an easy feat to achieve. - Tuija Seipell

Architecture

October 10 2009

A fluidity of surfaces is witnessed in the Yarra House designed by Leeton Pointon architects and Susi Leeton architects. Floors become walls; walls become ceilings; and ceiling opens up to sky. 

On approach, the entrance looks like a cave formed by rendered concrete walls. Only the slight and irregular black window frame insertions appear to allow light into the house. But within, light falls through the double-story void from above in all directions.

Light cascades down oak and white plastered surfaces. It washes over limestone and marble, illuminating art, furniture and every handcrafted and natural surface throughout the house. 

The focal point and central pivot of the house is a sculptural circular stair.  This transitional element divides the entire double-storey spaces as it stretches out under a steep exterior site.

Curved surfaces play against rigid lines in a style that the architects describe as ‘archaic’ – an effortless blend of both the primitive and artistic.  Materiality was the primary factor in the selection of timbers, stone and every other interior feature.



The house is sited south of the Yarra River in one of Melbourne’s many beautiful neighbourhoods.  The team of architects won an Architecture Award for Interior Architecture at the 2009 Victorian Chapter Awards. - Andrew J Wiener

Painting on wall on image 3 is from artist Song Ling.

Photography - Peter Bennetts


Architecture

September 28 2009

Elegant, calm, minimalist, clean and beautiful are among the adjectives that can be used to describe almost all of Marcio Kogan’s much-publicized and much-awarded residential masterpieces.

The magnificent, streamlined residences must serve as an antidote of some sort to the Brazilian architect who has been quoted as saying that he loves his home town of São Paulo and New York because they are similar in their chaotic ugliness, and because he likes “energy, chaos and a multi-cultural population in a city.”



Out of this chaos-, humor- and cinema-loving creative mind, an astonishingly lovely, peaceful balance is projected onto residential projects.

Reviewers of Kogan’s work often mention Ludwig Mies van der Rohe, Frank Lloyd Wright or their contemporaries, but Kogan has said that he is more inspired by Ingmar Bergman, Federico Fellini and Andy Warhol.

However, the 57-year-old Brazilian-born and educated Kogan does have a modernist approach, and he has described the work of fellow Brazilians of modernist ilk -- Lucio Costa, Oscar Niemeyer, Lina Bo Bardi and Vilanova Artigas – as incredible.



The Paraty House, pictured here, is located on one of the hundreds of islands near the colonial town of Paraty, close to Rio de Janeiro. Before it was completed, Kogan predicted that it was to be his favourite house. Its simple premise is two large drawers pushed into the hill and connected by an internal staircase.



Its elegance comes from the seamless link between indoors and out, from the use of native wood, stone and vegetation, and from the minimalist, sweeping vistas that make so many of Kogan’s houses appear as if they were either taking off or recently landed. And although the stacked-boxes style is starting to wear thin as style-du-jour, this is surely one of its best examples. - Tuija Seipell

Architecture

September 23 2009

The bucolic setting of this lovely private refuge is located in the tiny hamlet of Bachte-Maria-Leerne in the Flemish district of Belgium, about 10 kilometers from the country’s third-largest city of Gent. Gent-based architecture studio Wim Goes Architectuur designed the beautiful extension to this residence. The wooden addition sits above a new wine cellar and extends partly over the pond.


 
The natural, graying wood, the green vegetation and the blue sky and pond create a harmonious balance, accented by the slim vertical lines of the largest surfaces. Goes’s signature style combines intentional, unpretentious simplicity with functional clarity, and results in stark beauty with Japanese-Finnish undertones.


 
In this residential structure, Goes created an elegant facade that encompasses both visual and structural grace. The facade is created from slim strips of wood (only 6 x 8 centimeters in cross-section) selected for the straightness of the growth rings in each piece of wood. And although the wood will still warp slightly in the rain and sun, this does not pose a structural problem because the facade does not need to bear wind load -- the wind will blow right through the strips. The only structural load the wood strips must carry is the vertical load of the roof.


 
Wim Goes is an award-winning architect, born in 1969 in Ghent. He established Wim Goes Architectuur in 1997. The firm’s work includes private, public and retail projects, ranging from the stunning Yohji Yamamoto flagship store in a neoclassic building in Antwerp, to museum, office and design environments. This year, he was chosen as one of the 40 under 40 European Architects by the European Centre for Architecture Art Design and Urban Studies and The Chicago  Athenaeum: Museum of Architecture and Design. - Tuija Seipell.

Architecture

August 30 2009

Tokyo-based architect, Shin Ohori, and his firm General Design Co, have recently completed a beautiful private weekend residence in the mountains at Kawakami-mura, Minamisaku-gun, Nagano.
 
Ohori designed the recreational property, titled Mountain Research, for his friend, fashion designer Setsumasa Kobayashi, who also owns Tokyo’s Cow Books (also designed by Ohori.)


 
And that explains the odd name for the retreat. Setsumasa’s fashion line used to be called General Research but it is now known as .......Research, with the dots being a placeholder for the defining word of each season’s collection. The Spring 2009 collection was called Mountain Research, and its namesake mountain hideaway is the place where Setsumasa and team dream up most of the brand’s fashion ideas.


 
Life takes place mostly outdoors at the Mountain Research. The various functions — kitchen, storage, bath, wood shelter — are located in nearly separate, simple structures, all resting on a multi-level platform. The material of the structures is local pine, and the owner hopes that the buildings will eventually biodegrade into the mountain soil and return to nature’s endless cycle of re-creation.


 
The one stark exception to this woody serenity are the two permanent, bright yellow sleeping tents (made by North Face), located atop of the building. The entire retreat has a feel of a casual, classy and unpretentious camp that has all of the conveniences of modern life. A perfect environment for a creative brainstorm. - Tuija Seipell

Architecture

August 8 2009

Nearly 25 years ago, the world tuned into Melbourne for the ultimate in sporting events, the Olympic Games. Even long before that, Aussies were renowned as being among the world’s greatest sport fans. From grand-slam tennis to cricket’s oldest and greatest rivalry between Australia and England, Ozzie sports are part of its culture.

The Melbourne Rectangular Stadium, designed by COX Architects with engineering assistance from Arup, and from Norman Disney & Young — is a $200-million boutique rugby and soccer stadium with a capacity of 31,000.



Pride in sporting venues is also part of the very culture that supports sports so proactively. To stand on the same level as the Bird’s Nest, the Water Cube, Wimbledon, Coliseum and all sports architecture icons, new and old, great sporting venues support and enhance the cities in which they stand.

Melbourne expects its new Rectangular Stadium to not only contribute to the city’s sporting life, but also to be a focal point of the city’s Olympic Sports Park and Entertainment Precinct — only a short walk from the city center.

Fractured architecture is slowly becoming synonymous with 21st-century architecture in Melbourne. From the honeycomb concrete façade of Federation Square, to the steel tubing we recently wrote about on the city’s new recital centre, the bio-frame roof of the Rectangular Stadium already looks like it belongs. The roof will be covered with thousands of LED lights that can shine in many colors. They will be programmed to follow patterns that mimic the crowd’s energy during a match — soccer with Victory or rugby with Storm — or any other game or event.- Andrew J Wiener

Architecture

July 13 2009

Cities grow organically and while some areas thrive and prosper, others parts undoubtedly deteriorate over time as industry evolves, social dynamics shift and economies fluctuate.  Many accomplished urban designers look at the multi-dimensionality of any city within which they work regardless of where a project is sited.

Ashton Raggatt McDougal (ARM) architects completed the design of the Melbourne Recital Centre and the neighbouring Melbourne Theatre Company helping to transform the formerly derelict Southbank area of the city to the dynamic district it has now become.  The firm has been so successful in their designs of the two buildings that they have been honoured with the 2009 Victorian Architecture Medal winning highest accolades in three categories for public architecture, interior design as well as urban design.



In a country where the two largest cities compete for just about everything, is Melbourne set to de-thrown Sydney for a higher quality performance space? Granted we’re not here to critique Utzon’s Opera House, but we are prepared to say that ARM, in collaboration with Arup Acoustics, designed a dynamic and original 1000-seat performance space and 150-seat Salon. “The fusion of architectural and acoustic design throughout the development of Elisabeth Murdoch Hall has produced a visually and aurally exciting hall,” a designer from Arup explains. “Based on the proportions of the classic shoe-box shaped European concert hall, the geometry has been enhanced to provide greater acoustic intimacy and improved sightlines for the entire audience.”


 
The design for the Melbourne Theatre Company begins with the dramatic façade: 3D iridescent steel tubing folds and bends against black aluminium cladding – just as an actor brings performance to life against a dark backdrop. The interior is comprised of the Sumner Theatre, a 500-seat hall noticeably without a balcony or mezzanine space, but still allowing exceptional site lines to the stage regardless of where your season tickets land you. The most striking element inside the main theatre is the Word Wall – 70 quotes from different plays are illuminated when the stage is dark. The building also houses a full rehearsal hall that can be used as an event space or a smaller performance space, as well as a café and bar at the front of the house. - Andrew j Wiener



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