Beautiful Residential Home Design #3

“The buildings recall the agricultural forms of the local built environment, but as is our nature in our designs, we sought to take that context and evolve it to a more emphatic modern language. We sought to design something that was exquisitely proportioned in a quiet, agricultural way.” –Tom Kundig

trout lake 1

trout-lake-or-olson-kundig (12)

This artist retreat, designed by Olson Kundig of Seattle, is located on 18 acres of rural agricultural property in Trout Lake, Washington just steps from White Salmon River. Both owners are artists who incorporate the natural landscape into their work – he is a painter and photographer, and she is a textile artist and designer. A key directive in the design of their new home was that it connect them to the surrounding landscape and maximize opportunities for indoor/outdoor living. It was also important for them to have studio space that was separate from the house, but related in form and materiality. All four buildings recall the forms of vernacular agricultural structures, and incorporate tough and low-maintenance building materials with minimal finishes such as concrete, plywood and steel. Wood siding on the main house was milled locally and weathered by the owners themselves. Corrugated metal roofing was also rusted by the owners.

trout-lake-or-olson-kundig (1)

trout-lake-or-olson-kundig (10)

trout-lake-or-olson-kundig (11)The retreat contains four distinct buildings arranged in two groupings. The first grouping contains the main house, a woodworking shop, and a carport all contained under a single roof in a T-shape. A covered courtyard connects the three spaces in the middle of the “T”. A separate, free-standing artist studio is located just northeast of the main house, with a covered patio that connects to a guest room. Here, the owners work on their own projects, and occasionally host retreats and community-based arts workshops. In all four buildings, large bi-folding doors and sliding barn doors open up the spaces completely to the outdoors, allowing for the movement of large artworks and equipment, as well as an intimate connection with the environment.

trout-lake-or-olson-kundig (9)trout-lake-or-olson-kundig (8)The main house is minimal in form, consisting of a single double height volume with an open plan living, dining and kitchen area separated from a library by a double-sided fireplace. A set of hidden steel stairs nestled into the concrete fireplace lead to a loft above the library. The home’s single bedroom is located above the bathroom and mudroom and is accessed via a set of open stairs in the entry foyer. Two sets of 30-foot-long bi-fold doors in the main living space allow the home to open completely on both sides, maximizing the home’s sweeping views of the nearby river and Mount Adams.

trout-lake-or-olson-kundig (2)trout-lake-or-olson-kundig (3)trout-lake-or-olson-kundig (4)trout-lake-or-olson-kundig (5)
trout-lake-or-olson-kundig (7)trout-lake-or-olson-kundig (6)
trout-lake-or-olson-kundig (7)
trout-lake-or-olson-kundig (9)trout-lake-or-olson-kundig (8)
18.04.02_TroutLake_SitePlan-001.jpg
Site plan

18.04.03_14023_TroutLake_MainLevelPlan_-001Main Level

18.04.04_14023_TroutLake_SecondLevelPlan_18-03-30-001Second Level

Photography Jeremy Bitterman
Location: Trout Lake, Washington
Home is 6,594 sf

Beautiful Residential Home Design #2

ch house 1.jpg

Originally occupied by a small cottage in disrepair, this new modern home in Seattle’s Capitol Hill neighborhood, designed by SHED Architecture, is an economical, efficient, low-maintenance, and modern version of a traditional home – one with primary living spaces on the main floor and three bedrooms above.

The kitchen to occupies a central and commanding position in the house with easy access to the backyard patio. Large floor-to-ceiling sliding doors flank the east and west ends of the house, exposing an open-plan kitchen, dining and living space ideal for entertaining. The kitchen’s minimal palette of bamboo, fir, cork, and concrete allow the natural materials to take center stage without overpowering the functional details including a custom stainless steel pot rack. In order to achieve the desired aesthetic and budget-level, the designers selected cabinets from Ikea and created custom bamboo cabinet fronts and fir wraps with recessed pulls. The bamboo material was selected for and sets the tone for the rest of the house.

ch house 4

Capitol_Hill_Home_24Capitol_Hill_Home_23-1612x1075

The house sits on a well-traveled arterial along a bus line and is flanked by two multi-unit buildings: to the south a rental house that extends the length of the property line with several windows along that façade; to the north, a triplex with a south-facing entry court encroaches upon the original plot by means of an easement. By limiting windows along the sides of the house and focusing the glazing towards the east and west, the home establishes a strong connection to its front and rear yards while protecting its occupants privacy from the heavily used side-yards of the neighbors. A walled and elevated terrace extending from the sunken living room claims the front yard as usable space and shields the fully glazed living spaces from passersby. Corrugated metal siding and concrete site walls were used where privacy was desired, while wood windows, doors, and siding were used at the sheltered open ends where people interact directly with the building’s exterior.

ch house 3

chhouse 6

ch house 5

ch hose 7

The home was also designed with the environment in mind. A low-maintenance high performance enclosure was achieved by using an effective combination of advanced framing (required 30% less lumber), triple-pane windows protected by aluminum plate ‘visors,’ and metal siding. Natural light, open spaces and simple materials come together to create a private sanctuary for the homeowners to cook, entertain and recharge.

Capitol_Hill_Home_04-1612x1075Capitol_Hill_Home_22-1612x1075

Capitol_Hill_Home_30-1612x1075

Capitol_Hill_Home_26-1612x1075

Capitol_Hill_Home_10-1612x1075Capitol-Hill-House_20121019_0015-1116x1488Capitol_Hill_Home_31-1612x1075

Capitol-Hill-House-Floor-PlansCapitol-Hill-House-Site-Plan

Designed by SHED Architecture + Design 

Beautiful Residential Home Design #1

Sensational, stylish, and startlingly unique—these homes are a cut above. There’s no doubt that one of my favorite places to uncover architectural treasures is on Dwell.com. It’s one of my go to places to admire the riveting spaces and simply admire innovative design. The stunning home below represents 1 of 10 projects that are the best in 2018. From a minimalist modern abode in the South of France to a jaw-dropping artist retreat that embodies indoor/outdoor connection, scroll down to see the first in a series of the best of the best.

Haiku Maui – Haiku, Haiku-Pauwela, Hawaii
Guggenheim Architecture + Design Studio 
Maui cottage

Inspired by the Scandinavian barn vernacular, this Upcountry Maui cottage and barn for Cloth and Goods’ Melissa Newirth and Crossing the Threshold’s David Johnson provides a peaceful minimalist retreat and respite for family gatherings. The 1,000 sf. long and low main cottage is sited to capture both mountain and sea vistas while the adjacent barn is designed to hold large family gatherings and act as a seasonal residence. Impeccably minimalist yet richly textured, highly efficient and livable environment with access to a variety of outdoor living zones.

upcountry-maui-cottage-and-barn.jpg
upcountry-maui-cottage-and-barn-lanaiupcountry-maui-cottage-and-barn-living-room (1)upcountry-maui-cottage-and-barn-master-bedroomupcountry-maui-cottage-and-barn-soaking-tub-in-master-bedroomupcountry-maui-cottage-and-barn-master-bathroomupcountry-maui-cottage-and-barn-workspaceupcountry-maui-cottage-and-barn-kitchenupcountry-maui-cottage-and-barn-living-roomupcountry-maui-cottage-and-barn-kitchen-and-living-room
upcountry-maui-cottage-and-barn-cottage-lanai-screen-detail.jpgupcountry-maui-cottage-and-barn-barn-living-space-and-loft-stair.jpgPhotos by Ryan Siphers

Guggenheim Architecture + Design Studio is a multidisciplinary creative atelier that integrates architecture, interior environments and brand direction. Studio is licensed to practice Architecture in the States of Oregon, Washington, and Hawaii

Beautiful London Architecture

Open House London has officially released the list of over 800 buildings open to the public this fall. This year, a range of exciting architecture is featured, including the new US Embassy by KieranTimberlake, Maggie’s Barts by Steven Holl Architects, and Bloomberg European Headquarters by Foster + Partners, the world’s most sustainable office building. Here is a must-see list of buildings to discover.

MaggiesMAGGIE BARTS
Maggie’s Centers are unique, welcoming and uplifting places with qualified staff on hand to provide free practical, emotional and social support for people with cancer, their families and friends. Maggie’s Centers are designed to feel more like a home than a hospital, with no reception desk, no signs on the wall, no name badges and a big kitchen table at their heart. This approach supports the informal relationships between staff and visitors, and is an important part of the unique support they offer.

Architect's photosArchitect's photosOpening

U.S. EMBASSY
The new U.S. Embassy, by KieranTimberlake, in Nine Elms reflects the best of modern design, incorporates the latest in energy-efficient building techniques, and celebrates the values of freedom and democracy. The Nine Elms district, a South Bank industrial zone under intense redevelopment, is a unique setting for the new Embassy. The Embassy stands at the center of this burgeoning area of London, with a public park containing a pond, walkways, seating, and landscape along its edges. Curving walkways continue into the interior of the building with gardens on each floor that extend the spiraling movement upward.

Kieran TimberlakeKieran TimberlakeKieran Timberlake has completed work on the US Embassy in London, a glass cube swathed in shimmering sails of plastic that is set on a plinth and surrounded by a moat-like pond on the edge of the River Thames.

The building, which replaces the previous Eero Saarinen-designed address in Mayfair, has been engineered to balance impenetrable security standards with a visual language of openness. The 12-story cube has a facade of laminated glazing enveloped on two sides with a transparent film of ethylene tetrafluoroethylene (ETFE), the same type of plastic use for the bio-domes in the UK’s Eden Project.

american-embassy--timberlake-col_16american-embassy-imberlake-hero_b-1704x959The “transparent crystalline cube” is intended to symbolize “transparency, openness, and equality”. The unusual form of the building’s facade is designed to minimize solar gain and glare while still allowing natural light in. The reflective facade shifts in color according to the weather and the position of the sun.

american-embassy-kieran-timberlake-col_8american-embassy-kieran-timberlake-col_6american-embassy-timberlake-col_13

ROYAL ACADEMY OF MUSIC – THEATER AND RECITAL HALL
The Royal Academy of Music’s Theatre and new Recital Hall project has created two distinct, outstanding performance spaces for Britain’s oldest conservatory. Designed for both opera and musical theatre productions, The Susie Sainsbury Theater sits at the heart of the Academy. Inspired by the curved shapes of string instruments, the 309-seat cherry-lined Theater has been acoustically refined to deliver excellent sound qualities. Within the old concrete walls, the Theater incorporates 40% more seating than previously through the addition of a balcony, as well as a larger orchestra pit, a stage wing and a fly tower. All seats have unimpeded views of the stage, while the larger orchestra pit allows for an expanded repertoire choice, from early to modern opera and musical theatre.

IanRitchie_RoyalAcademyMusic_RecitalRoom_01

IanRitchie_RoyalAcademyMusic_Theatre_10

BLOOMBERG EUROPEAN HEADQUARTERS
Bloomberg’s European Headquarters is the world’s most sustainable office building. Home to the financial technology and information company’s 4,000 London-based employees, its unique design promotes collaboration and innovation. In its form, massing and materials, the building’s exterior is respectful of its historic setting – a natural extension of the City that will endure and improve the surrounding public realm. Inside, its dynamic, contemporary interior is a highly specific response to the global financial information and technology company’s needs and embodies the organizations core values of transparency, openness and collaboration. Above all, the building sets a new standard in sustainable office design, with a BREEAM Outstanding rating of 98.5% – the highest design-stage score ever achieved by any major office development. The development uses 70% less water and 35% less energy than a typical office building.

Bloomberg European Headquarters12

Bloomberg European Headquarters2Bloomberg European Headquarters.

Beautiful Snarkitecture

10 Years of Snarkitecture
SNARKITECTURE PROJECT IS ABOUT OPENING UP THE POSSIBILITY, LEAVING THINGS AS OPEN QUESTIONS FOR PEOPLE THAT ARE COMING TO VISIT IT. THERE’S NOT NECESSARILY ANY PRESCRIBED MEANING — TO SAY IT’S ABOUT THIS OR ABOUT THAT — BUT HOPEFULLY, IT ALLOWS YOU TO WONDER.

journal_snarkitechture1.jpg

Perched on a quartz topped column, beneath the crumbling, paint peeled dome of an 18th Century palazzo in Milan, Alex Mustonen is thinking about his legacy. Or rather, the legacy of his design firm, Snarkitecture, whose 2018 has been a banner year. They’ve celebrated their 10 year anniversary, published their first monograph with Phaidon, and have plans to mount a career spanning retrospective at Washington DC’s National Building Museum, opening this Fourth of July.

journal_snarkitechture3

journal_snarkitechture4-

The moody Italian palace doesn’t just serve as a dramatic backdrop for ponderous self reflection. The trio, Mustonen, Daniel Arsham, and Benjamin Porto, have just installed their latest Salone del Mobile project there, a collaboration with quartz manufacturer Caesarstone, that explores water in its various states. It takes the shape of an ethereal amphitheater circling a terraced fountain of quartz. On top, planetary spheres of ice drift and creak, melting into the running water only to rise again as steam. It’s the latest in a sprawling roster of projects — 75 of which are detailed in the book — that Snarkitecture have dreamed into life during their decade-long tenure. They’ve morphed museums into massive, giggling ball pits (The Beach, ongoing), choreographed a ballet of over sized balloons during a gala at the New Museum, and filled the Storefront for Art and Architecture in New York entirely with pure white styrofoam, which they then invited viewers to watch as they excavated it with chisels and icepicks

 

journal_snarkitechture8.jpg.journal_snarkitechture7.jpg

It’s often said the core genius of Snarkitecture’s projects are their simplicity. For a union that formed in the cerebral confines of New York’s Cooper Union (Mustonen, in architecture and Arsham, art, attended at the same time, while Porto joined the firm later on), their installations and interiors strike straight to the heart of what brings us the purest kinds of joy. There’s an unabashedly innocent jubilation involved in doing a cannonball into a ball pit, marvelling at pirouetting balloons, or digging an endless hole to nowhere. In conceiving their much celebrated work, Snarkitecture are like children, having been gifted with the most expensive and high-tech of toys, instead choosing to make a fort from the box. Or, in their case, the packing foam.

Cereal sat down with partner Alex Mustonen to talk about the past ten years, plans for the future, and what’s inspiring them now.

journal_snarkitechture6

journal_snarkitechture11

From Cereal

Beautiful Stahl House

Stahl House, completed in 13 months and costing $37,500, further demonstrated Pierre Koenig’s flair for working with industrial materials, particularly steel, glass and concrete.

Stahl-Landscape1-The image is instantly familiar; the house, all dramatic angles, concrete, steel and glass, perched indelibly above Los Angeles, with Hollywood’s lights resembling a circuit board below it. Inside, two women sit, stylish and relaxed, talking casually behind the monumental floor to ceiling glass walls. One of the world’s most iconic photographs, Julius Schulman’s Case Study 22 beautifully captures the optimism of 1950s Los Angeles, and the striking beauty of architect Pierre Koenig’s masterpiece, Stahl House. The classic L shaped pavilion, cantilevered above Hollywood on Woods Drive, was built in 1959 after being adopted into the Case Study Program, an experimental residential design initiative that commissioned architects to create model homes in the wake of the 1950s housing boom. Stahl House, also known as No. 22, was the wild one, conjured up by the man who purchased the plot of land at 1635 Woods Drive in 1954 for $13,500 and sealed the deal with a handshake. C H ‘Buck’ Stahl was a dreamer, who, along with his wife Carlotta, set about finding the right person to bring his vision for an innovative and thoroughly modern home to life.

Stahl-portrait1-chairstahl_portrait2-pool.jpgBuck was a former professional footballer who worked as a graphic designer and sign painter. He spent his first few years as a landowner hauling broken blocks of concrete to the site in attempt to improve its precarious foundation. He and Carlotta ferried their finds, load by load, back to Woods Drive in the back of Buck’s Cadillac, hopeful the reinforcements would prevent the land from sliding. Buck’s dreams for the house began to take shape over the following two years, and eventually, he made a model of the future Stahl House. His grand designs, however, were promptly rejected by several notable architects.

Stahl-Landscape2-view.jpgCarlotta recalled Buck continually telling prospective architects “I don’t care how you do it, there’s not going to be any walls in this wing.” Until they hired Pierre Koenig in 1957, an ambitious young architect determined to build on a site nobody would touch, it seemed unlikely the house would ever exist. Pierre described the process of building Stahl House as “trying to solve a problem – the client had champagne tastes and a beer budget.” He was interested in working with steel, and despite being warned away from it by his architecture instructors, possessed great aptitude for it. He’d experimented with a number of exposed glass and steel homes before he created Case Study 21, or The Bailey House in 1958 and 1959, and his skill for designing functional spaces with simplicity of form, abundant natural light, and elegant lines would eventually make him a master of modernism. Stahl House, completed in 13 months and costing 37,500 USD, further demonstrated Pierre’s flair for working with industrial materials, particularly steel, glass, and concrete. The project put him on the map as an architect with an incredible eye for balance, symmetry, and restraint. The 2,040 m² house was, as Buck insisted, built without walls in the main wing to allow for sweeping 270º views. Three sides of the building were made of plate glass, unheard of in the late 1950s, and deemed dangerous by engineers and architects. This design feature required Pierre to source the largest pieces of glass available for residential use at the time. With two bedrooms, two bathrooms, polished concrete floors, and a very famous swimming pool (a fixture in countless films and fashion editorials) Stahl House was an immediate mid century icon.

vol8_stahl_landscape1-viewpoint0.jpg

Although there has been some dispute over Buck’s influence on the design in the years since he died in 2005 and Pierre Koenig’s death in 2004, some experts who have seen Buck’s original model agree that his concept informed the direction the Stahl House would finally take.

“I dismissed it as typical owner hubris at the time,” architect and writer Joseph Giovannini told the Los Angeles Times in 2009. “The gesture of the house cantilevering over the side of the hill into the distant view is clearly here in this model. But it is Pierre’s skill that elevated the idea into a masterpiece. This is one of the rare cases it seems that there is a shared authorship.”

Today, Stahl House is still owned by the Stahl family. Though it remains a magnet for film crews and photographers the world over, for Bruce Stahl, Buck and Carlotta’s son, who grew up there with his siblings, it was simply part of a typical, happy childhood. “We were a blue collar family living in a white collar house,” he said. “Nobody famous ever lived here.”

stahlHouse_2013_0223-1200x375Landscape-.jpg 04-1600x500.jpg
Credits: Lucy Brook
Photos: Rick Poon

Beautiful Villa Savoye

As a monument to modernism, the building possesses a poetry and sensitivity full of idealism. The careful composition of living space and intention to harness natural light, not to mention the building’s iconic aesthetic, still define modern architecture.

villasavoye_landscapeThe Villa Savoye, built in 1929 in Poissy, a rural area outside Paris, was Le Corbusier’s answer to a French country house. Given relatively few constraints by the Savoye family, Le Corbusier designed a building to embody the architectural theory he had evolved in practice and in his book, Towards an Architecture 1923. He was inspired by both the classical forms of ancient Greek architecture and the modern technologies that were shaping the world such as automobiles, airplanes and ocean liners.

villasavoye_landscape2.jpgThis project was the last in a series of private homes known as the ‘white villas’ built by Le Corbusier and his cousin and partner Pierre Jeanneret, which introduced a new form of luxury in which space itself, and its capacity for leisure, were the valuable commodities.

Of these, The Villa Savoye perhaps best embodies Le Corbusier’s architectural manifesto, the five points of architecture. The first, pilotis – slender pillars which raise the building off the ground, opening up more space for gardens and cars, made possible the second, a façade free of its usual load bearing function. Walls were no longer supporting structures but ‘membranes.’ This allowed the unimpaired design of the third, an open plan interior, and the fourth, ribbon windows to flood the interior with maximum light and to illuminate it evenly. A sliding window system patented by Le Corbusier and Pierre Jeanneret was intended to offer superior ventilation, as well as give access to the fifth, a flat roof which could serve as a terrace. A curved solarium crowns the structure, the brightest increment in the layered design. This symbiotic relationship of these five features gives some insight into what could otherwise be a somewhat alienating notion of Le Corbusier’s, the famous concept of a house as ‘a machine for living.’

villasavoye_landscape3-outdoor.jpgUnfortunately the Villa Savoye presented its residents with its own host of problems, despite its pioneering design. Each autumn, as the windows ushered in a warm vista of seasonal colour, the family would write repeatedly to Le Courbusier, begging him to make ‘habitable,’ what proved to be a damp and chilly building. They complained of ‘raining’ in the hall, on the ramp and in the bathroom. The loud drumming of rain on the bathroom skylight kept them awake at night, heat escaped through the long stretches of glazing and the heating system was both insufficient and a further cause of flooding.

villasavoye_stair.jpg villasavoye_portraitchair villasavoye_landscape4.jpgvillasavoye_portrait6-bath.jpgvillasavoye_portrait5-stair 2.jpg villasavoye_landscape4

Much of this was perhaps due to the fact that the technology involved was not fully developed at the time. As a monument to Modernism, the building possesses a poetry and sensitivity full of idealism. The careful composition of living space and intention to harness natural light, not to mention the building’s iconic aesthetic, still define modern architecture. Nonetheless, the discomforts they had suffered ultimately led the Savoye family to decide against restoring the property after the 2nd World War, when it was seized by German forces. About to be demolished by the local authorities to make way for a school, the building was rescued by architects and academics including Le Corbusier himself. Now a museum, restored closely to its original state, Villa Savoye is one of 17 of Le Corbusier’s buildings declared a UNESCO World Heritage Site.
Credit: readcereal.com/