Article source: tomomi kito architect & associates
This is an interior renovation project of an existing two-story timber structure house in Tokyo built approximately 40 years ago.
The client is a young couple, and the wife’s parents were living there before the renovation. The client decided to live with their parents in this house. Soon after, the wife’s grandmother who lives alone in the countryside – far from Tokyo – also decided to live together in this house. As such, the client requested to renovate the house suitable for accommodating 4 generations – the grandmother (1st generation), parents (2nd generation), the client (3rd generation), the client’s son (4th generation).
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
How on earth does one come up with the idea of pouring a huge amount of concrete into an Emmental farmhouse? Certainly, one could find several practical reasons (statics, thermal storage mass or the like…). For us, the house needed something rough and immediate, something that could build up its own world in the former barn and hayloft. A concrete object now cuts through all three floors and supports the old roof. In addition to its structural qualities, it holds all the bathrooms and kitchen accommodations, as well as cabinets and storage space. Large windows open up the view into the impressive attic.
The ‘Great Australian Dream’ of owning a quarter acre block with a new house has become a distant memory in inner-city Brisbane, as parcels of land are shaved down repeatedly in a bid to densify the urban centre. Nestled within the urban streets of Teneriffe, a colonial Queenslander presented a charming frontage that concealed the potential for the Architect to utilise the vacant 300m2 backyard to design and build a new family home. The ‘Backyard House’ has been an opportunity to set a precedent for suburban infill development as an alternative to the prevailing trend of building apartments near railway and bus stations.
House Spaak is an exceptional building project where historical and modern wooden architecture combines. New terraced house comprises an idyllic entirety with Konstaapeli Spaak’s log house which was erected around 1730. Designed by AVARRUS Architects, these terraced apartments have a solid wood frame and natural ventilation. Whereas Spaak’s log-frame house was renovated with piety into sauna and workshops for the residents.
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.
Western Hills in the western part of Beijing where the Old Summer Palace is located—is far from the hustle and bustle of the city. This project’s design is a combination of cultural elements of Western Hills and modern oriental design techniques. A shaded corridor leads to a space possessing a fantastic view. The moment people enter the space, they feel as if they have walked into a beautiful painting that features both ancient elegance and modern freedom. “Let me forget my worldly worries and find peace in the woods of the Western Hills; the white clouds seem to have read my mind, and drift slowly down from the forest to keep me company.”