developed by american berry chen architecture studio, the ‘edgeland residence in austin, texas ‘is located on a rehabilitated
brownfield site, re-interpreted as of one of the oldest housing typologies in north america – the native american pit house.
typically sunken, the building takes advantage of the earth’s mass to maintain thermal comfort throughout the year.
the residential home’s relationship to the landscape both in terms of approach as well as building performance involves
an insulating green roof and a seven‐foot excavation ‐ raising awareness about a diminishing natural landscape and its finite
resources by creating a balance between the surrounding industrial zone and the natural river residing on opposite side of the site.
both visually and functionally, edgeland residence touches on architecture as site‐specific installation art and as an extension
of the landscape. the program is broken up into two separate pavilions, for the living and sleeping quarters, and requires
direct contact with the outside elements to pass from one to the other.
by bercy chen studio
I’ve been printmaking almost ever since I can remember; I made my first etching plate when I was about fourteen or fifteen and little else has interested me ever since. Since childhood as well, I have been interested in representing the world around me; specifically narrative situations that sum up the human condition.My work vacillates between these narrative images and those that are devoid of narrative and concerned with aesthetics.
by Chris Pig
This is a Modern Tree House Inspiration by RPA architect. Located in Nichols Canyon, Los Angeles, California, Banyan Tree House, compact design house including art studio and holiday weekend with a view of downtown Los Angeles. It is inspiring – and inspired! – A tree house made of wood and glass sanctuary from the hustle of everyday life. Wooden structure is 12 meters on steel supports, and on the basis of a large pine tree. In keeping with the theme of course, this study was completed in luxury organic range of ready-tree branches, mahogany windows and roof Rheinzink. RPA
In a heritage listed environment at the foot of the vineyards on the Rotenberg, this new home for a young family has been created. The historic building law with cultural heritage constraints and the difficult dimensions of the building grounds were initially quite an obstacle and did restrict the wishes of the building owners. Within these narrow constraints a pure home is created, a home with frugal details and apt quotes of past building traditions.
The shell of the home is all white. It is intended to trace the historical setting demanded by preservation of historical monuments and to illuminate it in it´s new glace. A single format for the windows with clean shutter elements opens up the facade and acts as frame for the desired vistas of the vineyards. Narrow frame profiles and flush windows give the home`s shell a skinlike apearance. The shutters` design contains historic ornaments, creating a connection to the building`s predecessor.
Collective housing built in the residential section of the center of Tokyo. It consists of four dwelling units including owner’s dwelling unit. Each dwelling unit is made with two or three independent rooms of prototypical “house” shapes. And the two rooms exist, separated like combination of the room of the first floor, and the room of the third floor and they are connected by outside stairs.
That is, it can be said that each dwelling unit is realized by experience of two rooms and the city when passing along outside stairs. When you go up outside stairs, you will have experience that it is a wonder climbing a big mountain such as a city. It seems that you have your own house in the foot and summit of a mountain, respectively. And by the act which rises and gets down the mountain, mountain = the whole city will be experienced as its own house.
I wanted to create an ultimate wooden architecture. I thought through this bungalow, which can be considered as a small and primitive house, it was possible to do a primitive and simultaneously new architecture. 350mm square profile cedar is piled endlessly. At the end of the process appears a prototypical place before architecture became architecture.
Wood is amazingly versatile. Due to its versatility, wood is used in a conventional wooden architecture by intentional differentiation in various places. Not only in structures, such as columns and beams, but it can also be used in everything else from foundation, exterior wall, interior wall, ceiling, flooring, insulation, furniture, stairs to window frames. I posit that if wood is indeed multifaceted, then conversely it should be possible to create architecture that fulfills all functions by one process, and by one way of using woods. It is an inversion of versatility. From that originates, new architecture that maintains an undifferentiated condition of the harmonized whole before function and role underwent mitosis.
350mm square profile cedar has an amazing impact. It transcends what we usually call “wood” and becomes “an existence” of an entirely different material. While the dimensions adequately display its materiality as wood, 350mm squared is simultaneously the dimensionality directly corresponding to human body. Thus, three-dimensional space is created out of 350mm increments. This stepped space was a long fascination of mine for couple of years as its defining characteristics are the generation of a sort of spatial relativity and a new sense of various distances unachievable by coplanar floors.
There are no categorization of floors, walls, and ceilings here. A locality that was thought as a floor transforms into chairs, ceilings, and walls from different perspectives. Floor levels are relative and people reinterpret the spatiality according to where they are. People are three-dimensionally distributed in space and will experience new sensations of depths. Spaces are not divided but is rather produced as a chance occurrence within fusing elements. Inhabitants discover various functions within those undulations. It is a place akin to nebulous landscape. This resonates with the undifferentiated condition of above-mentioned architectonic elements. Both as a constructional methodology and experiential space, this architecture is synthesized by the fusion of various undifferentiated elements. Here, conventional rules of architecture is nullified. There is neither a plan nor a stabilizing point. This is possible purely because the wood is that versatile. Perhaps it is only possible with wood to be simultaneously the insulation and the structure, the finish and also the furniture. By being composed of the wooden blocks instead of slabs, the method of creating the undifferentiated condition was made clear.
Victoria Lucas and Richard William Wheater
12 Months of Neon Love is a collaboration between Victoria Lucas and Richard William Wheater, and began on St Valentines day 2011. The project is formed using a sequence of twelve lyrical statements, borrowed from well-known songs that feature the many configurations of love. Presented over a year in large red neon text, twelve expressions are visually re-presented to an unsuspecting audience going about their everyday lives on the roof of Neon Workshops in Wakefield.
The project is specifically born out of a romantic relationship between two artists; one passionate about neon (Wheater), the other passionate about the subject of time (Lucas). Together they created a year long public artwork that celebrated the many configurations of love, including expressions of intimacy, adoration and heartbreak, using the medium of light with its time-based properties……..
more on http://www.12monthsofneonlove.blog.com
365 Limited Edition Artist’s Books are now available to buy here.
Nothing to say, just enjoy.
Amazing pics by David Keochkerian
July 29–November 5, 2012
MoMA’s ambitious survey of 20th century design for children is the first large-scale overview of the modernist preoccupation with children and childhood as a paradigm for progressive design thinking. The exhibition will bring together areas underrepresented in design history and often considered separately, including school architecture, clothing, playgrounds, toys and games, children’s hospitals and safety equipment, nurseries, furniture, and books.
In 1900, Swedish design reformer and social theorist Ellen Key’s book Century of the Child presaged the 20th century as a period of intensified focus and progressive thinking regarding the rights, development, and well-being of children as interests of utmost importance to all society. Taking inspiration from Key—and looking back through the 20th century 100 years after her forecast—this exhibition will examine individual and collective visions for the material world of children, from utopian dreams for the “citizens of the future” to the dark realities of political conflict and exploitation. In this period children have been central to the concerns, ambitions, and activities of modern architects and designers both famous and unsung, and working specifically for children has often provided unique freedom and creativity to the avant-garde…….