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Tag Archive for Wood
Architects: Mount Fuji Architects Studio
Location: Meguro, Tokyo, Japan
Site area: 177.27 sqm
Building area: 106.33 sqm
Total floor area: 259.72 sqm
Project Year: 2006
Photographs: Ryota Atarashi & Satoshi Asakawa
This is a house to be built in Tokyo, for a movie producer couple.
This architecture is consisted by combining L-shaped blocks of reinforced concrete and sequential frames of box-shaped engineer-wood. We put bedrooms, film archive and galley in solid concrete part for security, and living room in engineer-wood part for openness. As material that consist an open space that is 6m in height, 5.5m in width, 14m in depth, we choose thin engineer-wood (38mmx287mm).
Main theme for this architecture is to bring out a sense of mass and material, which were denied by modern architecture which pursued “white, flat wall” as a style. We intentionally left the wood grain of mold on the surface of concrete, and choose textured stones and irons.
It goes without saying that a house is a relaxing place. A house like a white-cube, surrounded by flat, white walls everywhere, gives a person very abstract image. But that image could only be sensed when we use intellective part of our brain. The problem is that we’re not all-intellective-creature. For the people like this client, who do enough intellectual labor on a daily basis, white-cube would only bring sense of fatigue. The role of architecture, especially the ones for living, is to soothe the sensory side of people, not to stimulate the intellectual side. That’s my take.
Sure, intellectual living would have got some meaning as a fashion at the time when modern architecture was born. However, now that it became a part of everyday life, its identity has been lost. We have to examine whether our approach is rational or not every time we build architecture.
Architecture as Dialogue
We do not subscribe to the assertion that “the city is a problem and architecture is the answer”. That point of view is a pure product of modern architectural theory, which as such weighs very heavily on today’s architectural education programmes: What are the problems running through the city? What answers can architecture offer them? School trains us in the acquisition of this method of questioning. Student evaluation is based on this conceptual and rational system of question and answer. And it is doubtlessly relevant, if limited to academic training; architecture on paper, devoid of substance, remains at a level of abstract purity that allows it to theoretically resolve the problem posed by the city.
But with real architecture it is quite anther matter. Indeed, even when it is designed as a pure answer, architecture realized, from the moment it imposes “mass” and becomes a built object, never manages to get beyond the “city=problem” equation. Because many architects have not grasped the obviousness of this, an incalculable number of buildings have sprouted in the urban landscape through the conscious application of the lesson learned: “problem-solution.” Unfortunately, the legitimate and equitable “answer” expected often winds up being nothing more than deplorable “urban filler”. For in using this approach, the concrete situation of the city is rendered abstract, theorised and formalised as problem and turned into a set of logical systems which will in turn administer a logical architectural answer. It is useless and unsightly to reintroduce these relationships defined through the filter of conceptual labels into the material world in the form of buildings. the resulting built architecture is merely a superfluous residue.
We are doubtless the first generation to become aware of the reality of modernism’s limits. We sincerely and conscientiously avoid dealing with architecture through concepts as much as possible. For us, the city is from the outset imbued with “substance,” and the architectural process is the creation of “substance”.
Therefore, we seek to manipulate these concrete relationships, as they are, in all their concreteness. The relationship between pre-existing city and future architecture is never envisaged in a unilateral way, as one would do when bringing an answer to a question, but rather as a continuous and balanced “dialogue” between the old and the new “substance.”
This is what makes our point of view so childlike.
To act upon things simply, so they will actually become what one would wish for.
Seen this before, but it is very cool – maybe I’ll make some of my own, from ditchwitch.
Architects: Steven Holl Architects
Location: Dutchess County, NY, USA
Design Architect: Steven Holl
Project Advisor: Chris McVoy
Project Architect: Garrick Ambrose
Project Team: Jackie Luk, Lautaro Pereyra, Jeanne Wellinger
Structural Engineering: Silman Associates, PC.
Fabricator: JLP Home Improvement
Project Year: 2010
Photographs: Susan Wides
On a four acre site in Dutchess County, New York, a new wooden ”T” space sits near a stone “U” house from 1952, which has a steel “L” addition from 2001.
The new gallery floats over the natural landscape. It has nine steel columns and nine elevations, all integrated via proportions of 1:1.618..
A rain skin of natural 2×2 cedar is suspended on stainless steel screws. There is no plumbing, or sheetrock. The interiors are painted plywood and the floor is sanded marine plywood with all the stains of the 4 month construction process exposed.
Wooden windows, doors and skylights were specifically built for this space. The gallery is reached from the east by a gently sloping wooden ramp, and exited on a wooden ramp through the south elevation which is a large pivoting wall.
Light comes from skylights, cut to achieve 25 foot candles of natural light on the walls, eliminate the need for electricity.
Architects: Tegnestuen Vandkunsten
Location: Copenhagen, Denmark
Engineers: Moe & brødsgaard
Contractor: DrivhusEffekten ApS
Project Area: 253 m2
Completion Date: 2009
Photography: Adam Mørk
Vandkunsten has completed an extension to the small, alternative Bernadotte School north of Copenhagen. The school is housed in a couple of old villas that have been added to over the years, creating a labyrinthine teaching environment full of character but lacking in facilities and basic outdoor spaces.
Vandkunsten’s new building adds a library, a gym with stage facilities and extends existing classrooms and workshops while new roof terraces leave a larger and more articulated playarea for the kids. All new spaces tie into existing access and circulation.
Construction is lightweight in wood and steel and insulation values are high. While the project accepts the labyrinthine as a fundamental quality of the place, a degree of visual coherence has been achieved with vandkunsten’s trademark black cladding – and with the stainless wires in place for the three kinds of creepers that have been planted along the new house.
Surrounded by mountains, forests, and the waters of the Arabian Sea, the house is configured around a tropical garden filled with Plumeria, ferns, grasses, bamboo and jasmine. Under the wood framed roof, rooms are loosely arranged around the garden, weaving routes between them through louvred hallways and verandahs. Vertical wooden slats form a protective enclosure, obscuring and revealing views of the surrounding landscape. Sunlight filters through these screens, creating patters of light and shadow on the inner surfaces of the building, made up of stone, wood, and burnished plaster.
Beneath the courtyard lies a secret room filled with water from a subterranean aquifer. Light diminishes as one descends the stairs through a stone corridor, intensifying a sense of passage into the earth. The pool has a comforting silence, as water enters the building without ripples or sound. The subterranean room is a refuge from the hot Indian sun, piercing the ground through circular air holes casting shafts of light across the stone walls into water. Inside the stone-lined cavity, ocean sounds reverberate from above and water fluctuates freely, responsive to the seasons and tides. When it rains, water from the roof of the house percolates into the well, recharging the aquifer. The artesian well provides water for the house and gardens through the year.
Architects: Supersudaka / Juan Pablo Corvalán
& Gabriel Vergara
Location: Talca, Chile
Project Team: Pablo Sepúlveda, Miguel Angel Reyes
Engineering: Cesar Moreira / Sigma Ingenieros
Project Area: 104 sqm
Project Year: 2006–2008
This house located in the Central Valley near Talca is almost a statement of how to accomplish architecture in Latin America.
As the design and building process were so unsteady, starting from the site -located in an almost impossible steep hill-, to the budget limitations, a very basic grid configuration evolved to a much multifaceted formal result; both simple and complex at the same time.
Curiously, the principal façade when arriving to the house is the roof, designed as a complete terrace to a 360º view of the valley but also as a structural complement underneath the deck that overtakes the horizontal forces in case of earthquakes, which allows to avoid cross-bracing in the windows towards the appealing views. This wooden “envelop” is extended and returned to block excessive sun exposure in the hot summer of central Chile zone, although lets the sun to enter in the fresh early morning and in hard winter in a more inclined angle.
Plus, natural cross ventilation through opening of all the glass planes through the patio and external façade permits a regulation of temperature in a passive mode. Unexpectedly, this calculated geometry relates almost candidly to the nearby hills topography.
Beyond demanding technical issues, the project spatial organization outcomes -as it was never determined- in a open space around the patio which includes the kitchen and could displayed as the inhabitant wishes, switching dinning room to living room or any other instance as desired. A more stable programme is the principal bedroom with a private bathroom and terrace towards the view since residents could enjoy it more during the morning and late night rather than the day. Plus, an optional studio and/or guest room in the opposed side is available aligned with a more “public” shower, toilet and laundry facilities. All fits in less than 104 M2, nevertheless all spaces connect to each other in exterior or interior ways: a continuous promenade with no dead ends as is to integrate all the spatial qualities and views of living in a steep and almost non urbanized area, nevertheless 5 minutes to the city.
All this was reached rather than in a quest for certainties, through a trial and error modus operandi whereas all design resources at reach where unconsciously or more rationally implied: from Corbusier’s 5 points for a new modern architecture, to nearby Smijan Radic’s Copper House 2, or/and references passing through Mies structural explicitness through OMA and PLOT experiments (All apologies).
The result? A mix, a bastardized design, a fusion, like a crossbreed dog, as named in Chilean: A Kiltro (mixed-breed dog).