Beautiful Infinite Blue Hotel – Sorrento, Italy

Being in a state of quarantine, my planned excursion to Italy had to be put on hold. Actually, as everything has a way of turning out alright, I’m ok with that because it gives me more time peruse wonderful stories about Italy that I previously never seemed to find time for. I’m discovering some of the hidden treasures that I’ll take with me…some this September. And if September shall come and go and still I cannot fly to Europe? Well then, I shall peruse even deeper until the time comes when I can. Below is a story from Cereal magazine for all to peruse and enjoy.

“I STAND ON A BALCONY WITH TILES LAID IN DIAGONAL STRIPES, LOOKING OUT INTO THAT INFINITE BLUE UNTIL I AM SUSPENDED IN IT.”
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White concrete frames a square of uninterrupted blue. The cloudless sky, the iridescent Tyrrhenian sea, even the land stretching out either side — pastel-painted Sorrento to the left, Vesuvius to the right — is cast in a haze of blue. An impressionist’s dream.
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swooning over this blue tile

The concept of infinite blue was architect Gio Ponti’s driving inspiration when he built Parco dei Principi, his slice of 1960s modernism on a coast of faded antiquity. When it opened in 1962, the hotel was something new for ancient Sorrento: a clean-lined, contemporary edifice on the tufa-stone cliff. Inside, the bright, wide-open spaces were pared down and decorated entirely in white and blue.
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Ponti was commissioned to build Parco dei Principi when his friend and colleague, the Neapolitan engineer and hotelier Roberto Fernandes, bought the neighboring property, the ballet-shoe-pink 18th century Villa Cortchacow. The villa was originally owned by the Count of Syracuse and then by a Russian prince, who had a mock Gothic castle half-built in the grounds lest his cousin, the last tsar of Russia, should come to stay. Ponti’s challenge was to transform this — perhaps thankfully — unfinished castle.
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Gio Ponti was one of the most pioneering architects of the mid-century, with an extraordinary portfolio of buildings that championed forward-looking principles. He was driven by the ideas of transparency and lightness. His diamond-shaped Pirelli tower in Milan soars; his ethereal Taranto Cathedral in Puglia, delicate as a paper cut-out, is known as ‘the Sail’. “He loved to create little spaces of lightness, through elements in the design,” says Caterina Licitra Ponti, his great-granddaughter, a passion for her great-grandfather’s work alive in her eyes.
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And so in Sorrento, as in Taranto, he uplifted the castle’s solid stone walls so that the new building seemed to hover above the clifftop, wrapping the interior in a white concrete skin, perforated with spaces that allow the light and the sky to penetrate the framework. On approach, through verdant subtropical gardens, the blue of the sea is visible all the way through the glass-walled ground floor.
gio-ponti-hotel-parco-dei-principiOf all Gio Ponti’s 100-odd buildings, Sorrento is the only hotel where you can still stay, fully immersed in his art — for as well as the building itself he designed every last detail. He was not just an architect, but a designer — of interiors, furniture, industry, cars — an artist and a ceramicist, a writer and a teacher; and at Parco dei Principi his passion for so many disciplines converged in one triumphant paean to modernity.

Work was his passion. Every moment was one in which to create. Her grandmother, Lisa — Ponti’s daughter — recalls him waking each morning at 6.00 am. He used to have coffee in bed while he sketched and wrote letters on a tray of his own design — daily correspondence to friends and colleagues about every devilishly intricate detail of his projects, right down to the tablecloths and tiles.
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In the lobby, blue and white glazed pebbles are set into the walls, their cool, shiny-smooth surfaces reflecting infinite depths of radiance, chosen, Ponti wrote, for their ‘lightness and grace’, their ‘reflexes of light and sky’. Down in the hotel’s subterranean levels, where there is nobody else about, I put my cheek to the cool of them. It is clear Ponti created this place not just to look at but to touch, too, so that his work would engage and bring delight.
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On the bright upper floors, the hotel’s bedrooms are stripped back to the bare essentials, each element designed by Ponti in mid-century modern style and made in Italy: a bed, a chair, a footstool which doubles as a suitcase stand, and a dressing table facing the sea, where I sit and write this story on its smooth Formica top the color of the sky.
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Shaded from direct sunshine by the building’s perforated sheath, the room is cooled naturally by the shades of blue and white, and by the ceramic tiles underfoot. Of all Parco dei Principi’s carefully curated details, these ceramic tiles are perhaps the most enduring. Ponti made 30 different designs, all in the dark blue, pale blue, and white of the local seascape — some geometric, some figurative, featuring moons, stars and leaves. They are configured differently in each of the hotel’s 96 rooms.

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“I always think of the endless possibilities of the art,” Ponti observed, of creating these tiles. “Give someone a square measuring 20 by 20 and although people have been turning them out for centuries, there’s always room for a new pattern… There will never be a last design.” Here again, the concept of infinite blue. His dream was to make a permanent mark — infinite, like the blue of the sea and the sky.VFMLID=1074137304212f566e64500cfc882084ebdd0bb1c
I stand on a balcony with tiles laid in diagonal stripes, looking out into that infinite blue until I am suspended in it. Below me, a sailing boat cuts across the bay, its wake drawing a straight white line through the water. Above me, a gull hangs steadily for a moment, then soars away into the sky. Borne on the wind, light as air. Gio Ponti is everywhere.
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Parco de principiGio Pontioktober 1997

Cereal magazine

Beautiful Mid-Century Renovation

I love the before and after image of this mid-century modern home renovated by Nest Architects. The home now has a chance to live another life. The beams are a fantastic architectural statement and at the same time giving the house volume and openness. The built in bench on the wall is a nice addition. If you haven’t heard of Nest you should go check them out, they have some great renovations.

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The home is a high-quality example of late 1950’s era residential architecture that was in disrepair. The client’s vision to salvage the house and restore the existing architectural details guided the renovation. The original home features iconic roof geometry, exposed beams, and large expanses of glass that address the views. Strong datum lines emphasize the horizontality of the home’s massing and views of the low-lying landscape.

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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

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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.

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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.

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Site plan

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

Beautiful Residential Home Design #2

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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

 

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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.

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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.

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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.”

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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.

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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/

Beautiful Amazing Kindergarten

Today, I present one of those projects that takes your breath away. It is designed by Emmanuelle Moreaux and it’s a beautiful kindergarten full of color, a stimulating environment where kids can let their imagination run free. Every child should be so lucky to go to school to attend a learning environment like this.

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I love the use of color, a common feature that runs throughout the space. The school, Creche Ropponmatsu, is located in a residential area in Fukuoka, Japan. Emmanuele Moreaux designed this crazy, whimsical project – color is common theme throughout many of her projects. The result is amazing. Emmanuelle designed the architecture, interior space, logos and graphical signage, with a vision to open a new kindergarten where children can grow up freely in mind and body. Running behind the colorful grove, this kindergarten gives opportunity for children to raise rich sensibility by feeling many colors wherever they are.

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THREE-DIMENSIONAL COLORS AND ELEMENTS
Color is apparent in every corner of the space. 22 colors were used in the 63m height trees on the façade. The branches appear to wrap the entire building, protecting it, perhaps, from the less colorful world outside. Collections of color jump out at one glance. On the facade, there are 22 colors used in 63 multi-colored trees of 4 m in height extend the branches rhythmically and wrap the building. While giving full-sized glass with a feeling of openness, by wrapping it with colorful trees, gives a sense of distance to the outside. Inside, 200 colorful boxes in 25 colors are lined up on the wall, where each one of them belongs to every child to stock their personal goods. Every time children use their own tools or get changed, they find and pick up the box of their color.

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The stairs which connect the 4 floors is also full of colors, 18 different tones in fact. This creates an environment where kids are surrounded by diversity inside, outside and in common zones. Stimulation with colors and shapes is crucial for kids at this age – experts claim that color helps kids to develop their sensitivity and individuality.

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DETAILS IN THE LOGO
Colorful trees on the façade have been also included in the logo, a perfect representation.

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Learn more about her colorful projects here 

Beautiful Googie Architecture

Union 76 Gas Station

The dramatic upward-curving roof is one of the most iconic examples
of Googie architecture that still stands today.

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What looks like a flying carpet anchored to the ground with pillars at
the intersection of Crescent Drive and Little Santa Monica Boulevard in
Los Angeles is actually a functional gas station. It’s also one of the most
iconic examples of Googie architecture in the world.

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The dramatic upward-curved canopy decorated with red square tiles was
originally designed in the 1960s by architect Gin Wong to be a part of the
city’s airport, but when that plan was changed, it ended up as a Union 76
gas station. When the fluorescent lights that follow the curve are turned on,
Jack Colker’s 76 station, as it is commonly known, goes from flying carpet
to embellished spaceship.

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It was completed in 1965, right around the time when the eye-catching
Googie style was extremely popular in California. Inspired by the SpaceAge,
fast cars, and jets, Googie style buildings contain steel, plastic, and neon,
twisted into crazy shapes and designs. Several of these whimsical creations
were demolished in the decades that followed but there are still handful of
them scattered around the Golden State.

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Atlas Obscura