Casa di Luce is a single-family house located in the Turtle Creek section of Dallas and comprises 3,226 air-conditioned square feet on two levels. The house is constructed on an irregularly-shaped, 8,075 square foot site with significant topography.
The size and shape of the site, as well as the presence of grand oak tree, presented challenges that greatly influenced the design of the house and its surroundings.
Located across from the St. Etienne station on the Esplanade de France, the influence of the intervention at the heart of the BIA Châteaucreux is a link between neighborhoods and horizon lines, a low point in the topography of St. Etienne in front of a preferred route to the city center. Combined with the scale of the project and the symbolic value of the program, This unique location gives the project a special status in the construction of the city. The project subscribes to the contemporary idea of the construction of the city that leads to the creation of rhythms, of multipurpose spaces contributing to the realization of a less linear environment, able to evolve and mutate. The goal is to embed the large commercial component of the neighbourhood in a more complex urban dynamic, made of interlocking assemblies essential to any large and vibrant city. Thus, the project offers an open floor plan, initiating continuity and affiliations, creating links between polarity and panoramas, hills and plains, lower and upper town.
The house is basically organized in a large block in format with two floors.
The social sector was positioned on the lower floor, which features the living room, dining room, kitchen, home theater, utility room, guest toilet, laundry room, gourmet space and pool. On the ground floor are the garage, the warehouse, the entrance hall, the office and the three dormitories.
The local conditions were decisive for the solutions adopted in the project. The lot is located in the highest part of the condominium, which allowed the creation of large openings overlooking the natural landscape.
This privileged location also allowed a better use of ventilation and natural lighting. The large openings in opposite directions allow the control of the air currents inside the house.
The optical shop C_29 / ’Optimist’, is an interwar listed building of a total surface 90m2 and is located in the centre of Chalkida. The space is airy and expands along the central market and the back courtyard / patio which is formed in the core of the building. The building itself is a composite construction with the ground floor being made of bearing masonry and the two floors of reinforced concrete bearer and filling brickwork. The main design aspect was the creation of a gradient technique in the texture of materiality in order to emphasize the reflection and the absorbance of light. This gradient tool continues to exist and plays a significant role even to the choice of materials, resulting in their sound existence or their theoretical absence in the formed space. Some utilitarian objects are transformed into prismatic sculptures. The courtyard space is defined by an imaginary cube. What is more is that the plan does not allow visual contact to the courtyard and the shop. Therefore, there is formed a wall at an angle of 45 degrees in the intermediate space fully covered by mirror , which results in visual continuity between the two spaces.
Three years ago HŒvard Lund stood in the office of TYIN Tegnestue. The musician from GildeskŒl presented a vision of creating the worldÕs most beautiful workspace on the isle of Fleinv¾r outside Bod¿, in the northernmost parts of Norway. The workspace would be a place where musicians, artists and other creative souls could rent rooms for shorter or longer timespans. The small isle offers a secluded working environment in an area of awe-inspiring natural beauty, surrounded on all sides by wild sea.
Professionals: Hanmo (welding), T¿mrer Stangvik (carpentry), Andrew Devine (carpentry), Ruben Stranger (carpentry), Harboe Leganger (engineer)
Students: Annika Persch Andersen, Simen Aas, Thea Hougsrud Andreassen, Edouard Bernard, Camille Boudeweel, Claudia Calvet Gomez, Steinar Hillers¿y Dyvik, Sophie Galarneau, William Gibson, Henrik Pfeiffer, Elise Aunet Tyldum, Espen Strandmyr Eide, Aurora Sch¿nfeldt Larsen, Kim Stroh, Erik Hadin, Anna van der Zwaag, Sara Lipinska, Harald Seljes¾ter, Tuva Andersen, Julia Kolacz, Mats Heggern¾s, Anne-Margrethe Lothe, Ulrikke Sch¿nfeldt, Anette Morvik Roberstad, Fredrik Asplin, Jan Fredrik Holmestrand, Alberto Reques, Sara Kamilla, Wik Edwina Brisbane, Adrian Aress¿nn Norwich, James Dugdale, Marek Lepiochin, Odin Ardach, Marie Norum, Tyra Mathilde Marsteng, Theodor Braat¿y, Jana Mentges, Simone Marusi, Pilou Passard, Quentin Desveaux, Rahel Haas, Ninni Westerholm, Ambra Aliraj, Sebastiˆ Mercadal, Ingrid Stenvik Larsen, Anna Maragno, Martin Boullay, Eirik SkŒrdalsmo, Even Egholm Fuglestad, Matilde Sundquist, Silva Marie Eikaas, Elisabeth Zachries, Beno”t Perrier, Martin Barrre, Julie Huseby, Agathe Ledoux, Ossian Quigley Berg, Roger Escorihuela, Emmanuel Banda
Workshop teachers: Sami Rintala, Andreas G. Gjertsen, Yashar Hanstad, Dagur Eggertsson, Carla Carvalho, Pasi Aalto, Kata Palicz
I called this project 100% Residency, because all the land, even in its green area, it has a function.
This, was elaborated as a collaboration for a student of mine, of the course of Civil Engineering, in college that I taught. Therefore, I elaborated in metallic structure, for it to be already getting accustomed and having an already real project, a detail of this bevelled structure, so it already improves its knowledge. And the apparent concrete in the rest.
Martha Schwartz Partners was one of nine international landscape design firms to be invited to design a small master garden installation on the theme of “the harmonious co-existence of nature and the city” at the 2011 International Horticulture Exhibition in Xi’an, China. The owner’s brief specified that the designer should consider the limitations of local building materials and methods, and that the garden should be accessible to a Chinese point of view.
After the development of some alternative occupation to the terrain started in mid-2013, the architectural program is reviewed and discussed in order to effectively meet the wishes of the couple who today make this house their home.
The idea for a public toilet in Gdynia is closely related to the location of the given area. View of the open sea and extending walking paths, suggested concept of creating building that besides its primary function will be set in a seaside tourist character. Periscope building allows its users to observe sea from the interior not through the traditional window. By placing the upper mirror of this periscope mechanism at a height of 4m, view of the water is raised above the boulevard’s level and so the strolling people. Users of the public toilet can see an undisturbed yet always different image of the Baltic Sea. Monolithic, concrete building owes its shape to the hidden periscope structure, but due to the rounded arcade and used raw materials, building with its profile resembles the nearby breakwater, blending with the local landscape. In the gap between the women’s and men’s toilet, there is a tribune from which people can enjoy view of the Baltic Sea. Its form, in contrast to the traditional benches, can hold a larger group of people. Wooden finish of the tribune and its surrounding walls warms raw style of the building. Inside the toilet, as well as outside the building, walls are covered with concrete. Free space under periscope construction is filled with huge pebbles, reminding the breakwater. Simple interior exposes periscope’s mirror with Baltic Sea view. Direct access to the building allows independent use of all the toilet rooms. Whole object in its form and function blends with the coastal mood, creating entirely new point on the promenade path.