Family Houses

2013


Table of Contents

INTRODUCTION
1. First half of the XXth Century - International examples
Victor Horta: Own House, Belgium,1898
Peter Behrens: Behrens' House, Darmstadt, Germany, 1901
Charles Rennie Mackintosh: Hill House, Helensburgh, United Kingdom, 1903
Eliel Saarinen: Own House, Kirkkonummi, Finland, 1903
Frank Lloyd Wright: Robie House, Chicago, USA, 1909
Otto Wagner: Wagner Villa, Vienna, Austria, 1912
Erik Gunnar Asplund: Snellmann Villa, Djursholm, Sweden, 1918
Gerrit Rietveld: Schröder House, Utrecht, Holland, 1924
Raymond Antonin: Reinanzaka House, Tokyo, Japan, 1924
Walter Gropius: Own House, Dessau, Germany, 1926
Le Corbusier: Stein Villa, Paris, France, 1927
Hans Heinz Lüttgen: Dr. Fischer Residence, Barmen, Germany, 1927
Henry van de Velde: Own House, Tervuren, Belgium, 1927
Adolf Loos: Möller House, Vienna, Austria, 1928
Paul Engelmann and Ludwig Wittgenstein: Wittgenstein House, Vienna, Austria, 1928
Konstantin Melnyikov: Own House, Moscow, Russia, 1929
Erich Mendelsohn: Own House, Berlin, Germany, 1930
Ludwig Mies van der Rohe: Tugendhat House, Brno, Czech Republic, 1930
Le Corbusier: Villa Savoye, Poissy, France, 1931
Hans Scharoun: Schminke House, Löbau, Germany, 1933
Luigi Figini: Own House, Milan, Italy, 1935
Alvar Aalto: Own Home, Finland,1936
Erik Gunnar Asplund: Own House, Lisön, Sweden, 1937
Frank Lloyd Wright: Falling Water, Bear Run, Pennsylvania, USA, 1937
Walter Gropius and Marcel Breuer: Gropius House, Lincoln, USA, 1937
Alvar Aalto: Mairea Villa, Noormarkku, Finland, 1938
Denys Lasdun: Newton Road House, Paddington, United Kingdom, 1939
Marcell Breuer: Chamberlain House, Wayland, Massachusetts, USA, 1940
2. First half of the XX Century - Hungarian examples
István Medgyaszay: Sándor Nagy Studio, Gödöllő, 1906
Károly Kós: Crow Castle, Stana, Romania, 1910
Ede Toroczkai Wigand: Lájos Vaszary Studio, Tata, 1920
Bertalan Árkay: Burchard-Bélaváry Andor House, Budapest, II.District, 1928
Bertalan Árkay: Ábel Jenő Utca Family House, Budapest, XI.District, 1928
Dezső Hültl: Buda Villa, 1929
Hugo Gregersen: Ráth György Utca Villa, Budapest, XII.District, 1929
Béla Málnai: Garas Utca Villa, Budapest, II.District, 1930
László Vágó: Napraforgó Utca 11, Budapest, II. Distirct, 1931
Bertalan Árkay: Kálmán Horváth House, Budapest, I. District, 1931
Lajos Kozma: Havas Villa, Budapest, II.District, 1931
Béla Málnai: Orló Utca Mende Villa , Budapest, II.District, 1931
Farkas Molnár: Cserje Utca House, Budapest, II.District, 1932
Farkas Molnár: Lejtő Utca House, Budapest, XII.District, 1932
Bálint and Sándori: Rózsadomb Family House, Budapest, II. District, 1934
Gyula Rimanóczy: Pasaréti Út House, Budapest, II. District, 1934
Lajos Kozma: Dentist's House (Klinger Villa), Budapest, II. District, 1934
József Fischer: Zentai Villa, Budapest, II.District, 1934
Gyula Rimanóczy: Family house, Debrecen, 1934
Lajos Kozma: Holiday Home, Budapest, Lupa Island, 1935
Farkas Molnár: Harangvirág Utcai house, Budapest, 1935
Bertalan Árkay: Árnyas Utca House, Budapest, XII.District, 1936
József Fischer: Rózsadomb Villa, Budapest, II.District, 1942
3. Second half of the XX Century - International examples
Philip Johnson: Johnson House (Glass House), New Canaan, Connecticut., USA, 1949
Ludwig Mies van der Rohe: Farnsworth House, Plano, Illinois, USA, 1951
Kenzo Tange: Tange House, Tokyo, Japan, 1953
Makoto Masuzawa: House of Mr. H, Japan, 1954
Alvar Aalto: Experimental House, Muuratsalo, Finland, 1954
Christian Norbert-Schulz: Own House, Oslo, Norway, 1955
B. Goff: Bravinger House, 1955
Le Corbusier: Shodan Villa, Ahmedabad, India, 1956
James Stirling: Family House, Cowes, England, 1956
Ernst May: May House, Hamburg, Germany, 1957
Kazuo Shinohara: Umbrella House, Tokyo, Japan, 1961
Peter and Alison Smithson: Upper Lawn Pavilion, Tisbury, United Kingdom, 1962
Charles Moore: Moore House, Orinda, California, USA, 1962
Junzo Sakakura: House for Mr. K, Osaka, Japan, 1963
Ralph Erskine: Own House, Stockholm, Sweden, 1963
Wenche Selmer: Selmer House, Oslo, Norway, 1963
Robert Venturi: Vanna Venturi House, Chesnut Hill, Pennsylvania, USA, 1964
Charles Gwathmey: Residence and Studio, New York, USA, 1966
Richard Meier: Smith House, Darien, Connecticut, USA, 1967
Peter Eisenman: House III. (Miller House), Lakeville, USA, 1970
Jorn Oberg Utzon: Own House (Can Lis), Mallorca, Spain, 1971
Mayumi Miyawaki: „Blue Box” Residence, Tokyo, Japan, 1971
Louis Kahn: Fisher House, Hatboro, Pennsylvania, USA, 1973
Rudolf Olgiati: Dircks House, Flims-Waldhaus, Switzerland, 1973
Yasuhiro Yamashita: Yamanaka Lake Holiday Home, Japan, 1973
Mario Botta: Bianchi House, Riva San Vitale, Switzerland, 1973
Rudolf Olgiati: Schaefer House, Flims-Dorf, Switzerland, 1975
Tadao Ando: Koshino House, Ashiya, Japan, 1981
Mario Botta: Casa Rotonda (Medici House), Stabio, Switzerland, 1982
Günther Domenig: Domenig House, Steindorf, Austria, 1986 (2006)
Steven Holl: Berkowitz-Lodgis House, Martha’s Vineyard, USA, 1988
Peter Eisenman: Guardiola House, Santa Maria del Mar, Spain, 1988
Bart Prince: Price House, Corona del Mar, California, USA, 1989
Antoine Predock: Zuber House, Paradise Valley, Arizona, USA, 1989
4. Second half of the XX Century - Hungarian examples
István Vellay: Family House, Kiskunhalas, 1962
Béla Pintér: Family House and Studio, Budapest, XII.District, 1963
Kálmám Szelle: Studio, Zebegény, 1968
Csaba Vincze: Family House, Szombathely, 1968
Kálmán Szelle: Holiday Home, Balatonakarattya, 1969
Sára Cs. Juhász: Weekend House, Budapest, 1970
Zoltán Gulyás: Own Home, Szentendre, 1971
György Kévés: Holiday Home, Flóra Utca 15, Budapest, District II,1972
György Vadász: Family House, Budapest, 1974
György Szrogh: Holiday Home, Szigliget, 1975
Péter Ungár: Holiday Home, Leányfalu, Early 1980s
Levente Varga: Holiday Home, Zebegény, 1981
József Finta: Family House, Budapest, 1983
Imre Makovecz, Dóczy House, Göd, 1988
5. Contemporary family houses - International examples
Rem Koolhaas: Villa dall’Ava, Paris, France, 1991
Masaharu Takasaki: Zero Cosmology, Kagoshima, Japan, 1991
Alberto Campo Baeza: Casa Gaspar, Zahora, Spain, 1991
Herzog & de Meuron: Villa E. M., Tavole,Italy, 1988-93
Ben van Berkel: Wilbrink House, Amersfoort, Holland, 1994
Peter Barber: Anbar Villa, Dammam, Saudi Arabia, 1993
Eduardo Souto de Moura: Own House, Ria Cartelas Vieira, Portugal, 1993
Adam Caruso: Own House, London, England, 1994
FOBA: Aura House, Tokyo, Japan, 1994
Frank O. Gehry: Own House, Santa Monica, California, USA, 1978-1994
John Pawson: Own House, London, England, 1994
Simon Ungers: Ithaca House (Cube House), Ithaca, USA, 1995
Shigeru Ban, Furniture House, Tamanashi, Japan, 1996
Heidi and Peter Wenger: Wenger House, Rosswald, Switzerland, 1996
Ken Shuttleworth: Crescent House, Wiltshire, England, 1997
Kazuyo Sejima (SANAA): M-House, Tokyo, Japan, 1997
Adolf Krischanitz: Own House, Steinaweg, Austria, 1998
Rem Koolhaas: Bordeaux House, Bordeaux, France, 1998
Alvaro Siza: Vieira de Castro House, Vila Nova de Famalicao, Portugal, 1994
Carlo Baumschlager - Dietmar Eberle, Allgaier House, Lochau, Switzerland, 1998
Andreas Henrikson: Black House (Black Box), Halmstad, Sweden, 1999
Henning Larsen: Holiday Home, Vejby Strand, Denmark, 2000
Denton Corker Marshall: Emery Residence, Cape Shank, Australia, 2000
Sean Godsell: Carter/Tucker House, Breamlea, Australia, 2000
Satoshi Okada: House on Fuji, Japan, 2000
Alberto Campo Baeza: De Blas House, Madrid, Spain, 2000
Markus Wespi and Jérome de Meuron: Flawil House, Flawil, Switzerland, 2000
Stefan and Bernhard Marte: Steinhauser House, Fussach, Austria, 2000
David Adjaye: Elektra House, London, England, 2000
David Adjaye: McGregor House, London, England, 2000
Tony Fretton: Red House, London, England 2001
Stefan and Bernhard Marte: House in Furx, Furx, Austria, 2001
Engelen Moore: Dodds House, Sydney, Australia, 2001
Alvaro Siza: Van Middelem Dupont House, Oudenburg, Belgium, 2003
Mass Studies and Slade Architecture: Pixel House, Gyeonggido, South Korea, 2001
Hiroaki Ohtani: Own House (Layer House), Kobe, Japan, 2003
Stephen Atkinson: Zachary House, Zachary, Louisiana, USA, 2003
Roberto Graca Correia and Ragaazi: Weekend House, Canicada, Portugal, 2003
Dekleva Gregoric Architekti: XXS House, Ljubljana, Slovenia, 2004
Bevk Perovic: SB House, Ljubljana, Slovenia, 2004
Atelier Bow Wow, Studio and Home, Tokyo, Japan, 2005
Fatima Fernandes and Michele Cannata: Exponor House, Matosinhos, Portugal, 2002
Eduardo Arroyo, Family House, Madrid, Spain, 2006
Atelier Tekuto, Mineral House, tokyo, Japan, 2006
Valerio Olgiati: Studio Home, Scharans, Switzerland, 2007
Alvaro Siza: Alemao House, Sintra, Portugal, 2007
Christian Kerez: Single Wall House, Zurich, Switzerland, 2007
Bevk Perovic: HB House, Ljubljana, Slovenia, 2007
Sou Fujimoto: N House, Oita, Japan, 2008
MOS: Floating House, Lake Huron, Canada, 2008
6. Contemporary family houses - Hungarian examples
Tamás Gettó: Family House, Pécs, 1991
István Janáky: Ragályi House, Budapest, II.District, 1993
Dezső Ekler: Family House, Budakalasz, 1994
Péter Janesch: Own House, Budapest, II.District, 1996
Tamás Tomay: Pasaréti Villa, Budapest, II.District, 1997
Balázs Pintér: Family House, Piliscsaba, 1998
László Kalmár and Zsolt Zsuffa: Family House, Csömör, 1998
Ferenc Bán: Weekend House, Tokaj, 2000
Tamás Karácsony: Mészáros House, Testvérhegy, Budapest, II.District, 2000
János Mónus and Zsuzsa Szőke, Family House, Adyliget, Budapest, 2000
Gábor Turányi: Family House, Budapest, XII.District, 2000
Attila Turi: Weekend House, Pilisszentlászló, 2000
Gábor U Nagy: Family House, Kétvölgy, 2000
István Janáky: Family House, Solymár, 2001
Sándor S Takács: Family House, Budapest, II.District, 2001
Gábor U Nagy: Family House, Zsida, 2001
Mihály Balázs: Family House, Tinnye, 2003
Péter Basa: Family House, Budakeszi, 2003
Miklós Jancsó: Family House Makeover, Budapest, II.District, 2003
László Kalmár and Zsolt Zsuffa: Family House, Budaörs, 2005
Gábor Szokolyai: Family House, Budafok, 2005
László Benczúr Junior: Bodnár Villa, Perbál, 2006
Tamás Tomay: Family House, Budapest, II.District, 2006
Dávid Józsa: Family House, Sopron, 2007
Tamás Karácsony: Duplex Family House, Budapest, XII.District, 2007
Margit Pelényi, Family House, Pécs, 2007
László Pethő, Family House Makeover, Budapest, 2007
László Benczúr Junior: Family House, Szentendre, 2008
Tamás Bulcsu and Éva Fortvingler: Holiday Home, Balatonakarattya, 2008
Zoltán Tima: Family House, Budapest, XII. District, 2008
László Vincze, Manor Farmhouse, Köveskál, 2012
7. Sustainable and energy efficient family houses
Béla Bambek: Family House, Stuttgart Germany, 1989
Future Systems: Project 222, Pembrokeshire, United Kingdom, 1998
Dietrich Schwartz: Solar House I, Ems, Switzerland, 1996
Fátima Fernandes and Michele Cannatá: Self Sufficient Home, Abrantes, Portugal, 2003
Ecosistema Urbano: Steel and Wood house, Asturias, Spain, 2004
Fujy Architects (Luca Lancini): Fujy House, El Escorial, Spain, 2005
Gábor Bártfai-Szabo: Own House, Budakeszi, 2009
Rural Studio (Aburn University): Dave's House, Newbern, Alabama, USA, 2009
Bjarne Mastenbroek and Christian Müller: Vals Villa, Vals, Switzerland, 2009
Studio 804 and University of Kansas: Springfield Sustainable Residence, Kansas City, USA, 2009

The family house – or expressed simply, house – is the base type for all buildings. Ancestor's of the house being the cave, tent or hut where structures were fabricated to offer shelter from weather and external threats. Frank Lloyd Wright in 1936, recorded the principle that any residence should reflect the protective function in it's appearance. In 1940 Lajos Kozma, when describing a new house project, that it is not the protective function that is the primary consideration but the framework to do so "the home, is the essential machine for life, a multiple and complex commitment towards life's functions and unity, and what people choose to make of it". Both these approaches to the idea of house or family house are found in this book. It is not without coincidence that the use of the word family occurs even though ways of life have changed, a home for instance no longer provides large spaces for servants, as previously found in palaces, mansions and manor homes. A new home may have a caretaker's apartment in the basement or a staff room near the kitchen. The size of a house is determined by the extent to which the family occupy it.

Function is the primary role in the design of a modern house. However, when writing about architect's modern homes, from the mid twentieth century until the present, the authors opinions are usually based upon a building's form or stylistic content. Lajos Kozma described homes according to external appearance: small house, single storey house or multistorey house. A small house maybe the result of various considerations or functional requirements: temporary use, or even a tight budget due to economic restrictions. Floor area, square metres, number of rooms, occupancy levels may often occur as a means of description in housing catalogues or publications. Location might also be used in simple terms of urban house/rural house, this can result in duality of meaning or refined categorisation. For example, Francisco Asensio Cervero further refined the idea of urban/rural house classification to include descriptions of natural locations, resulting in five categories: city houses, suburban houses, beach houses, cottages, houses in the mountains. Further classifications may be based upon the criteria of materials used in construction (wood houses, stone houses, lightweight houses), this affects structural solutions, interior and exterior appearance, associated location might be connected to nature or the built environment. Modern architecture faces an uncertain paradigm, as from the late seventies the forming of homes offered many new opportunities, the same applies to the whole realm of architecture, that classification of family houses in the later decades of the twentieth century appears to be from the aspect of style. The modern family and lifestyles have also had a radical impact upon specific architectural functions over time, affecting not only the work of architects, but also that of professional writers. Transition over time has also had an impact on the historical need to categorise houses as being "architects homes" or "independent homes". Finally the twenty first century has resulted in criteria for classification falling into new categories: when neither the function, size, form, fabric, location or style will be convincing as a point of view – commonly coming into acceptance that – a mixed use of categories might be better applied to best describe the group to which a house belongs or the essence it expresses. Thus, in this book family houses are presented in seven chapters including: modern, simple, small, rural, redeveloped, introverted and gestured home types.

There is of course a well known principle for planning, that of chronological order, used in the following text. A successive, yearly list might prove to be clear, objective and neutral. Lessons can be presented in this form of successive images of buildings and distinguished by obvious changes, showing absolute development stages, assumed by supporters of the heroic age of modern architecture. Possible changes in buildings that occurred in hundreds of years past, lead to categories of use, historic value or even the ability to remain relevant that enhances a building's classic status. Many people would be happy to live in these homes, some architects even regret not having had the chance to design such homes, or even experiment with the same ideas today. A chronological list might appear to be neutral, as I wrote above, but on reflection not completely. In this publication the selection reflects the collective values of the Department of Residential Building Design, you may have added or removed some, or even the process of selection might express a different resolution itself, but this is only based upon whom undertakes the selection process.

This selection of about 170 examples is presented in the above mentioned, differing, manner whilst other aspects can be helpful are excluded. The theme, family house, to be more accurate the house as shelter might be a specific point of reference. The house as a framework for living, in each solution, might reflect the developer's-architect's attitude to how a home can be achieved. Freedom to be diverse with the sheathing that protects the interior? Integration of the house with nature, even from the point of view of an external observer? New opportunities regarding primary utilisation of the built environment (neighbours) being overlooked or ignored, integration with the existing surroundings, reflecting forms, materials and ideas? The task, client's lifestyle, inception based upon given data, possibility to build, harmony between designer and client, extent of wish to be experimental?

In the early twentieth century, the appearance of a new home was the biggest role in the economic and social changes following an expanding circle of customers , a growing middle class, technological progress , that is, all of these were attributable to lifestyle change. The requirements for the home, a small family, fewer servants, properly equipped, health care attitudes, simplicity, sufficiently spectacular spaces, connection to nature all formulated the turn of the centuries demands. A close relationship between hygienic and aesthetic needs occurred, especially clear that these two ideas developed together as part of modern design, best seen in apartment buildings. This reform was best seen in English houses where we see: more need for light and air, strictly functional spaces, avoid unnecessary decoration, avoid heavy items of furniture, provide clarity and cleanliness of perception. In 1902, Herman Muthesius wrote words to the effect of "that just as our clothes are being reformed so are the homes in which we are wrapping ourselves". Indeed, this does seem to hold an element of truth as in post World War I years a welcome parallel could be drawn between the pioneers of practical dressing for men and women and the modern movement regarding home design. As individuals shifted towards the "clothing reform" not only for reasons of mere compliance, but to demonstrate the phenomenon of modern progress and functionality, so did the aesthetic of architecture validate this resolution. Now we are long past the age of the liberal dress code revolution, even the countercultural revolution of styles in the nineteen sixties, resultant home styles and even clothing styles have not changed significantly compared to those found a hundred years ago. Yet if we accept that our home, is similar to an item of clothing, it does have an image to go with it (obviously this is easier with clothing) that shows one's character and relationship to how we live.

The home provides protection, shelter, but also leaves space for its occupants. "I like having a home that has the appearance and sense of shelter, today this is what I like"- Frank Lloyd Wright 1943. The Robie House (1909) is huge, overhanging eaves and protective brick parapet walls provide security for the occupants, natural materials even used in the interiors. The central space is deliberately raised by the architect to differentiate it from the other "boxes" in order to create a place for conversation, reading and meal times. The pillar structure increased freedom to organise open plan interiors (plan libre) which are not only restricted to modern architecture, included as a motive behind modern house design. The Tugendhat Villa (Ludwig Mies van der Rohe,1930), a huge living room, two perpendicular glazed walls bound the interior space, although complex they assist in arranging the individual parts by separation (working, living, seating, games room, dining room), or connection as one space, depending upon how one perceives it. The separation from inside to the outside is no longer present - apart from on the street side where protection can be offered from intrusion - at a press of a button the windows can be lowered mechanically from ceiling to floor into a space in the lower floor. The interior is then connected to the garden, although not directly accessible from the living room, the garden can be reached by an outside staircase. The maximum potential for open floor plans can be seen in the Glass House (Philip Johnson, 1949) where only part of the glazed box is hidden from view, the bathroom in a brick cylinder. This house only provides protection from the weather, life for its residents (at least, those who enter the land) takes place publicly. In post World War II years several renowned architects developed glass walled, open plan houses, as the use of steel and glass created perfect spaces in a use of technicist minimalism expressive of the well-being associated with the consumer society. Apart from this form of openness, enclosure is not really a characteristic of modern homes, these examples appeared in the earlier half of the last century and have continued ever since. "The architect's job is to create warm,cosy spaces"- Adolf Loos 1898 as seen in homes he designed in the late twenties. The Müller House (1928) enclosed the spaces of a home in geometric cubic forms that linked at different levels, they did not flow into each other. Due to differences in levels, stairs can be seen to bisect spaces, meet at places between, inside or out, that allow the occupant a secure way to observe activities of others inside or out. A significant alternative to this model occurs when the idea of an ancient cave dwelling, dug into the ground, is reconsidered. The N House (Sou Fujimoto, 2008) does this. The architect decided to nest spaces within each other allowing the occupant to bury themselves in their own home, still allowing them the freedom to views of the outside. The final result was three volumes, placed within each other, connected by various sized openings allowing the occupant to use the spaces between according to lifestyle, that might be separated.

Integrating homes with nature was not a discovery of the twentieth century, but a direct relationship between home and garden, nature or symbols of naturalness as expressions of architectural intent. If the basement level is placed below ground and the first floor level the same as the outside terrain nature will be afforded direct contact by means of opening sliding doors in the summer or visual contact via windows in the winter. However, connection to nature is not an issue of land and vegetation, creation of intermediate spaces in the form of covered open verandas and the materials used to do so are also included. Some examples of this connection to nature occur in holiday homes, the primary function being relaxation, the secondary function a connection to nature. Villa Mairea (Alvar Aalto, 1939) is arranged in a "U" shape that encloses a small area of cultivated land. The external and internal materials of this home are natural and the regular ordering of the plan form is only deviated from at a few points. Columns used in the interior are of different sizes and materials to emulate the feeling of being in a forest. The Koshino House (Tadao Ando,1981) relates to nature in a totally different manner. Two strict geometric blocks of raw concrete form a plateau on a sloping site. The double storey living room is purposely designed to compose views of the landscape beyond. The previous two examples, although different, both share the common factor of being seated in the landscape. A different situation occurs when a home is placed in such a way that it becomes a focal point when viewed from afar. A classic example of a home as spectacle is Can Lis (Jørn Utzon, 1971), which overlooks the sea from a cliff top. This holiday home of residential blocks and covered walkways frames views of the sea, provides shade and treats the landscape as a stage. The overall composition is from four main blocks, irregularly placed, using local stone and roofing materials to give a sense of timelessness. Whilst the terraces of Can Lis can be considered places of contemplation, a project built almost simultaneously can be viewed as a watch tower overlooking Lake Lugano: Casa Bianchi (Mario Botta,1973). This analogy is not accidental, this holiday home is located in an area known for Roccolo towers, originally built as look out towers. The difference being this project is from reinforced concrete blocks not stone. These walls are opened up in places to allow light, whilst the only real views are offered from the access bridge that is orientated towards a small church on the opposite side of the valley.

The family home's, primary function is to create within given boundaries its own separate protective world - rarely in the middle of nowhere, surrounded by untouched nature, more often based upon a single plot of land surrounded by neighbours, other buildings or even on the site of a previous building. The modern house at design stage - not always but often - did not take into consideration its location or what had been there before. The motive to build was to present something new, contemporary and different. Many examples of this stance exist, the most spectacular yet being the Schroder House (Gerrit Rietveld, 1924), at the end of a row of traditional brick built houses a white rendered, flat roofed, ornament free home is found. Not one element of this house fits its neighbours in appearance, volume, interior layout, moveable partitions, or top-lit staircase, even the bedrooms have hand washbasins which was not conventional at the time. Following these breakthroughs in modern architecture, regarding neighbouring buildings, it became common to integrate remains of existing buildings into new homes. The Upper Lawn Pavilion (Alison and Peter Smithson,1962), retained an existing stone wall, to which a lightweight glazed structure was added, creating a contrast between heavy and light, this adaptation also brings with it a haphazard charm. This use of the environment might opt to adopt or reject traditional values whilst taking into account cultural issues. Among the components of the twentieth century home's development arise emotional debate. Clear rejection of needs became an irony of the post modern age in the quest for sleeker needs. Today's homes, often reflect their surroundings, and not purely as a result of planning applications. Elektra House (David Adjaye, 2000) retained the existing proportions and contour of the building that previously stood on the site. There are no openings in the wall, dark coloured and solid plywood coverings complete this form. Although the subdivision of the elevational boards indicate the location of former windows as part of the new modelling. The Scharansi Home Studio (Valerio Olgiati, 2007) follows the contour of an existing barn, even though no materials or forms from the previous building are used. It was necessary to build a larger inner courtyard using tan coloured reinforced concrete, that is delicately ornamented, this wall from a distance does not stand out from the environment but on closer inspection the difference goes without question.

A house is usually achieved as the result of collaboration between a client and their architect, total freedom to design sometimes occurs, typically when an architect builds their own home. Konstantin Melnyikov House (1929) radically differs from the norm, consisting of two intersecting cylinders. In only one place does a wall break this form, in the studio space, the windows even break convention with their hexagonal form randomly placed on the elevation. Robert Venturi designed the Vana Venturi House (1964) for his mother, overturning the dogma of modern architecture, questioning the unwritten rules. Gable walls, pronounced chimneys, first glance symmetry see to be archetypical but on closer examination are full of contradictions. The house only makes reference to traditional forms but does not take them seriously: still this house is complex despite its contradictions. Due to the small scale of homes the chance to experiment often arises, sometimes the client might be the architect's partner. Peter Eisenman questioned ideas of emotional and functional content in at least 11 different theoretical projects: ideas realised in many projects. The Miller House (1970) - just like the rest - realises principles that occur when the columns, planes, geometric spaces, massing, repetition, rotation, vertical extrusion, regardless of function or symbolic content are treated without consideration for architectural restrictions. Resulting in buildings that are partly uninhabitable, an obvious impasse.

Still, failures in the design of experimental homes have not caused architects to quit attempts, though their purpose now is no longer a quest for radicalism, more for visual impact or specialities. The new (or rediscovered) structure, form, materials, techniques offer opportunities to be unusual, not only for the sake of the unusual, but for the task of building a house. Maybe it is not even necessary to find new structure, form, material, techniques... The following collection of examples of photographs, floor plans, sections and accompanying information - should in the shortest time possible allow you to harvest information - needed to know about buildings. These might be viewed as cheat sheets to make it easier to remember. But to really know each house more information is required. The notes are to help you learn a little bit more about each home, and to gain a better understanding of their essence.

Table of Contents

Victor Horta: Own House, Belgium,1898
Peter Behrens: Behrens' House, Darmstadt, Germany, 1901
Charles Rennie Mackintosh: Hill House, Helensburgh, United Kingdom, 1903
Eliel Saarinen: Own House, Kirkkonummi, Finland, 1903
Frank Lloyd Wright: Robie House, Chicago, USA, 1909
Otto Wagner: Wagner Villa, Vienna, Austria, 1912
Erik Gunnar Asplund: Snellmann Villa, Djursholm, Sweden, 1918
Gerrit Rietveld: Schröder House, Utrecht, Holland, 1924
Raymond Antonin: Reinanzaka House, Tokyo, Japan, 1924
Walter Gropius: Own House, Dessau, Germany, 1926
Le Corbusier: Stein Villa, Paris, France, 1927
Hans Heinz Lüttgen: Dr. Fischer Residence, Barmen, Germany, 1927
Henry van de Velde: Own House, Tervuren, Belgium, 1927
Adolf Loos: Möller House, Vienna, Austria, 1928
Paul Engelmann and Ludwig Wittgenstein: Wittgenstein House, Vienna, Austria, 1928
Konstantin Melnyikov: Own House, Moscow, Russia, 1929
Erich Mendelsohn: Own House, Berlin, Germany, 1930
Ludwig Mies van der Rohe: Tugendhat House, Brno, Czech Republic, 1930
Le Corbusier: Villa Savoye, Poissy, France, 1931
Hans Scharoun: Schminke House, Löbau, Germany, 1933
Luigi Figini: Own House, Milan, Italy, 1935
Alvar Aalto: Own Home, Finland,1936
Erik Gunnar Asplund: Own House, Lisön, Sweden, 1937
Frank Lloyd Wright: Falling Water, Bear Run, Pennsylvania, USA, 1937
Walter Gropius and Marcel Breuer: Gropius House, Lincoln, USA, 1937
Alvar Aalto: Mairea Villa, Noormarkku, Finland, 1938
Denys Lasdun: Newton Road House, Paddington, United Kingdom, 1939
Marcell Breuer: Chamberlain House, Wayland, Massachusetts, USA, 1940

Standing on two adjacent plots Horta designed his home and studio, later recognised as being the zenith of his characteristic career.

Each building can be recognised by distinctively different facades, one being residential the other commercial. The professional, private and social functions are served by three separate staircases, one of which was used to seat guests at home concerts. Unusual to Brussels the designer employed windows to the rear of the buildings allowing light to flood into all areas from the front, back, side and roof lights. Another speciality of this house is the use of white glazed bricks found in the dining room and vaulted ceilings, also the use of American oak, marble, copper and gold as decorative surfaces.

exterior

Ministère de la Région de Bruxelles-Capitale / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

staircase

Ministère de la Région de Bruxelles-Capitale / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Ministère de la Région de Bruxelles-Capitale / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Ministère de la Région de Bruxelles-Capitale / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Harry Seidler / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

detail photo

Ministère de la Région de Bruxelles-Capitale / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Horta, Victor / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

cross section

Horta, Victor / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

This architect's own home reflects their personal beliefs. Josef Maria Olbrich designed five homes in the Darmstadt artists' colony, another was designed by Behrens who had no formal architectural training. This high pitched roofed home in the Jugendstil or Art Nouveau totally bucked the trend followed by turn of the century Germans.

The lean massing of this home, under three differing roof forms, appears to resemble a small castle. The rounded red brick detailing of the gable walls flows from a decorative use of green glazed brick in a playful use horizontal and vertical elements. The blue finished music room is contrasted with the solemn mood of the white painted and furnished dining room. Interior elegance is portrayed by the use of organic forms and fixtures. Almost every part of this home, including crockery and cutlery was designed by Behrens.

exterior

Bildarchiv Foto Marburg / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Fritz Hoeber / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Fritz Hoeber / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Fritz Hoeber / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Institut Mathildenhöhe / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

elevation

Behrens, Peter / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Behrens, Peter / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Behrens, Peter / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

cross section

Behrens, Peter / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

Mackintosh's work mixes traditional elements with the abstract, bridging styles ranging from English Gothic to twentieth century modernism. On a sloping site above the River Clyde a home was designed for a publisher in an elegant residential area where the main facade dominates the skyline. This home defined a new architectural language that employs asymmetry.

Each room, from the entrance inward, adopt special spatial characteristics. The large bay windows appear to be added at a later date, in fact they where designed to encourage relaxation, reading and enjoying the views. The interior furnishing, ironmongery and cabinetry is found to be richly decorated, yet not excessive.

exterior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Eric Thorburn / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Eric Thorburn / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Eric Thorburn / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Eric Thorburn / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

detail photo

Eric Thorburn / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

detail photo

Eric Thorburn / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

floor plan

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

cross section

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Mackintosh, Charles Rennie / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

This house runs parallel to the street, characterised by a stone capped roman brick wall, shallow roofs and projecting eaves. The ground floor, which in principle is one space, separated by a fireplace and staircase locates the living and dining rooms on a longitudinal axis.

Successfully fulfilling the client's requested for a home that does not treat separate spaces as boxes, without need for usual "ornaments", curtains, carpets, etc.

exterior

The Frank Lloyd Wright Foundation / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

exterior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

The Art Institut of Chicago / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1991

interior

Peter Gössel / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1991

floor plan

Wright, Frank Lloyd / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1991

floor plan

Wright, Frank Lloyd / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1991

floor plan

Wright, Frank Lloyd / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1991

cross section

Wright, Frank Lloyd / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1991

detail

Wright, Frank Lloyd / Frank Lloyd Wright, szerk. Peter Gössel, Gabriele Leuthauser, Taschen, Köln 1992

The Austrian architect's own home on the outskirts of Vienna stands next to his earlier Art Nouveau villa. The building with exaggerated eaves is decorated in glazed ceramic tiles of the Art Nouveau style combined with fenestration following a modern pattern. This duality of style is dissolved by means of a subtle use of subdued blue and white glazed ceramic tiles. The interior style is a rampant continuation of the exterior decoration, incorporating abstract glass compositions.

exterior

Muesse / http://commons.wikimedia.org/wiki/File:Otto-Wagner-Villa_II_0057.JPG

exterior

Paul und Stefan Asenbaum / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Muesse / http://commons.wikimedia.org/wiki/File:Otto-Wagner-Villa_II_0057.JPG

detail photo

Muesse / http://commons.wikimedia.org/wiki/File:Otto-Wagner-Villa_II_0057.JPG

interior

Paul und Stefan Asenbaum / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

site plan

Otto Wagner: Einige Skizzen, Projekte und ausgeführte Bauwerke, IV. kötet, Bécs 1922 / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

perspective drawing

Otto Wagner: Einige Skizzen, Projekte und ausgeführte Bauwerke, IV. kötet, Bécs 1922 / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

elevation

Otto Wagner: Einige Skizzen, Projekte und ausgeführte Bauwerke, IV. kötet, Bécs 1922 / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

elevation

Otto Wagner: Einige Skizzen, Projekte und ausgeführte Bauwerke, IV. kötet, Bécs 1922 / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Otto Wagner: Einige Skizzen, Projekte und ausgeführte Bauwerke, IV. kötet, Bécs 1922 / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

A radical break from prevailing architectural styles. The Schröder House is a pure expression of the abstraction and continuous spaces created by the Dutch De Stilj movement. The house is made up from a system of right angles applied to lines and planes. Black, white, red, blue and yellow colours are dominant, reminiscent of a three dimensional Mondrian painting. Although this house is connected to its neighbour, the Schröder house ignores its direct environment, rendering the importance of the past as being obsolete and old. The same use of colours and forms apply to the interior of this home to maintain coherence. The upstairs party walls can be repositioned, allowing the three bedrooms to comprise different spaces or a single space.

exterior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Ernst Moritz / Centraal Museum, Utrecht / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Ernst Moritz / Centraal Museum, Utrecht / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Ernst Moritz / Centraal Museum, Utrecht / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Rietveld, Gerrit / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Rietveld, Gerrit / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

cross section

Rietveld, Gerrit / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Rietveld, Gerrit / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Rietveld, Gerrit / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

perspective drawing

Ernst Moritz / Centraal Museum, Utrecht / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

Following a major earthquake a modernist house was erected in the centre of Tokyo. Strongly influenced by cubism and expressionism, this building expresses it's concrete construction as a structural and decorative exercise. Antonin and his wife hoped to set an example for the Japanese construction industry to follow, including the design of electrical and mechanical solutions, textiles and furnishings. The massing of this house is orientated towards the garden (the main functions in a two storey wing, the kitchen in a single storey wing). Summer and winter access to the interior spaces is made via a conical corridor. Angles in the floor plan are found to be filled with "inaccuracies" that Asplund suggests provide a sense of intensity.

exterior

Nichon Kenchiku Gakkai / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

exterior

Nichon Kenchiku Gakkai / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

interior

Nichon Kenchiku Gakkai / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

model photo

Nichon Kenchiku Gakkai / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

model photo

Nichon Kenchiku Gakkai / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

floor plan

Antonin Raymond / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

floor plan

Antonin Raymond / David B. Steward: The making of a modern japanese architecture 1868 to the present, Kodansha, Japan,1987

Gropius was commissioned to build three semi-detached homes in Dessau, to house teachers at the Bauhaus (Masters), plus a detached home for the director. The new houses, including the director's Gropius were to promote he "New Architecture" - a tool to demonstrate the new aesthetic. These homes present previously developed theories of industrial fabrication and standardisation. The interior design also uses Bauhaus workshop produced furnishings, including the Wassily chair by Marcell Breuer, first seen here. Many of the details are practical, efficiently organise daily life, such as rotating cabinets accessible from both sides, or ventilated clothes and bedding cabinets.

These homes where almost completely destroyed in World War II and reconstruction started in 2011.

exterior

Bauhaus-Archiv, Berlin, foto: Lucia Moholy / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Bauhaus-Archiv, Berlin, foto: Lucia Moholy / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Bauhaus-Archiv, Berlin, foto: Lucia Moholy / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

perspective drawing

Bauhaus-Archiv, Berlin, rajz: Noholy Nagy László / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Bauhaus-Archiv, Berlin, foto: Lucia Moholy / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Bauhaus-Archiv, Berlin, foto: Lucia Moholy / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Bauhaus-Archiv, Berlin, foto: Lucia Moholy / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Gropius, Walter / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2009

This is considered to be a luxury version of the L'Espirit Noveau Pavilion. The framed building with cantilevered slabs supports non-structural ribbon walls and windows, as a membrane, to separate the interior from the exterior. The building manifests itself as a purist composition which contains objects within a frame. The Stein Villa and the Palladian Villa Foscari are both based upon a proportion of eight units wide, five and a half units deep, five units high. Using exactly the same structural layout of an A-B-A-B-A pattern, giving this modern villa the impression of a classical building.

exterior

Sachsische Landesbibliothek, Drezda / Peter Gössel - Gabriele Leuthauser: Architecture in the twentieth century, Taschen, Köln, 1991

exterior

Archipress/Lucien Herve / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

- / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

exterior

- / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

exterior

- / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

interior

- / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

floor plan

Le Corbusier / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

floor plan

Le Corbusier / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

floor plan

Le Corbusier / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

floor plan

Le Corbusier / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

cross section

Le Corbusier / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

elevation

Fondation Le Corbusier / http://www.vam.ac.uk/vastatic/microsites/1331_modernism/highlights_23.html

perspective drawing

Fondation Le Corbusier / Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

Heinrich Kulka applied the term "Raumplan" to his biography of Adolf Loos in regard to design methodology. Loos designed homes in volumes modelled at the inception stage. This method was verified as a process by which low ceilinged-high definition rooms should be linked to larger rooms, thus creating complex spatial experiences. The Möller house is assembled from five different spaces that can be opened and intuitive, for example the reading niche connects through the central hall to the music room. This process leads to an asymmetrical plan, which appears to be asymmetrical when viewed from the garden elevation. On closer inspection it becomes apparent that this building is a fusion of two symmetrical parts.

The interior of this home reveals a fine spatial relationship based around the stairs: Positioning of the music room in relationship to the dining room is theatrical allowing for this area to act as a stage.

exterior

Margerita Spiluttini / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

- / http://en.wikiarquitectura.com/index.php/Villa_Moller

interior

Christoph Bürkle / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

interior

- / http://en.wikiarquitectura.com/index.php/Villa_Moller

interior

- / http://en.wikiarquitectura.com/index.php/Villa_Moller

floor plan

Loos, Adolf / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

floor plan

Loos, Adolf / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

floor plan

Loos, Adolf / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

floor plan

Loos, Adolf / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

cross section

Loos, Adolf / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

Art loving tycoon commissioned Engelmann, a student of Adolf Loos, to design a house for her brother on condition that he, Ludwig Wittgenstein an unemployed philosopher with specific ideas, be recognised a partner in the architectural design process. In fact Wittgenstein had studied mechanical engineering in Manchester and took advantage of these skills to design the lift doors, ironmongery and other items. This resulted in a gracefully designed home that appears to be cold and hard - nothing like the chic found in Loos' spaces.

exterior

Richard Bryant/ Arcaid / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Flloyd M. Sobczak / http://flloydsbllog.blogspot.hu/

exterior

- / http://www.fotopedia.com/wiki/Haus_Wittgenstein#!/items/flickr-2310816425

exterior

caitlin.w / http://www.flickr.com/photos/cait-w/2655041122/sizes/z/in/photostream/

interior

- / http://i.images.cdn.fotopedia.com/picasaweb-5137971250389434770-image/Vienna/Buildings/Stonborough_House/Haus_Wittgenstein-image-11.jpg

site plan

Paul Engelmann / Ludwig Wittgenstein / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

floor plan

Paul Engelmann / Ludwig Wittgenstein / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

floor plan

Paul Engelmann / Ludwig Wittgenstein / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

floor plan

Paul Engelmann / Ludwig Wittgenstein / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

cross section

Paul Engelmann / Ludwig Wittgenstein / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

elevation

Paul Engelmann / Ludwig Wittgenstein / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

In an unremarkable suburb of Moscow Melnyikov built this home for his family. At first this building appears to look like a church or planetarium, not a home. The reason for this being the rational use of a structural cylinder form pierced with diamond shaped windows formed without need for lintels.

One cylinder locates a double height brightly lit living space above the bedroom. The other cylinder forms a studio and art gallery space above another bedroom that share a common external terrace.

exterior

Kari Haavisto / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Igor Palmin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Igor Palmin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Igor Palmin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Igor Palmin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

cross section

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Melnikov, Konstantin / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

This villa which is highly demanding in terms of architectural principles, as with the Barcelona Pavilion, stands in the suburbs of Brno. Mies used elegant and expensive materials including travertine, onyx, ebony and chromed steel. The premise being to follow a design principle where the needs of the owner elegantly flow from one space to another. " I've always wanted a modern house, huge space and a clean simple shapes " - Grete Tugendhat.

At the heart of this house is the living room: finished in white, ceiling, walls and linoleum. The the north and west are located service rooms: entrance, study, library and piano room. Bedrooms are located upstairs. The majority of the furniture was designed by Mies, notably the Tugendhat Chair. Electrical fittings were to the highest standards: large windows opened by electric motors, central heating and air conditioning for the owners comfort.

exterior

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Pavel Stecha / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

detail photo

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

detail photo

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

staircase

Libor Teply / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Mies van der Rohe, Ludwig / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Mies van der Rohe, Ludwig / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Mies van der Rohe, Ludwig / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Mies van der Rohe, Ludwig / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

In the small town of Poissy near Paris this icon of modern architecture can be found. The client for this project was a wealthy director who wanted a weekend house over looking the River Seine.

The five points of Le Corbusier's architecture can be found in Villa Savoye: elevated on legs, roof garden, open floor plan, free facade and ribbon windows - also present is the characteristic interior foot ramp. The shape and arrangement of rooms are very refined: a shallow box, located in a nearly square plan, wrapped on all four elevations with ribbon windows, raised from the ground on legs. The dimensions of the box being determined by two factors: angle of foot ramp and motor car's turning circle.

exterior

Colin Davies / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Colin Davies / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Fondation Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

exterior

Fondation Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Fondation Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

staircase

Fondation Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Fondation Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

cross section

Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Le Corbusier / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

Strongly influenced by Le Corbusier's Villa Savoye and the "five point" concept. This home followed a concept known as "casa che cresce" that grows and changes with the family. Parallel to this was the concept of "casa thermos" or green house, to develop the architects ideas of natural heating and ventilation systems. The latter demands that fresh morning air from the northern side is captured to cool the home, requiring that the windows remain closed. This building erected in reinforced concrete follows golden section proportions throughout.

exterior

Dipartimento di Progettazione dell'Architettura, Politecnico di Milano, foto:Topuntoli / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Dipartimento di Progettazione dell'Architettura, Politecnico di Milano, foto:Topuntoli / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Dipartimento di Progettazione dell'Architettura, Politecnico di Milano, foto:Topuntoli / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Dipartimento di Progettazione dell'Architettura, Politecnico di Milano, foto:Topuntoli / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Dipartimento di Progettazione dell'Architettura, Politecnico di Milano, foto:Topuntoli / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Archivo Alessandro Figini / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

cross section

Archivo Alessandro Figini / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

This house, located above a creek in a nature reserve, demonstrates the human relationship between architecture and nature. Compared to most homes this is the most dramatic example of people being placed back in nature. Wright brings the inhabitants directly in contact with the gorge, trees, foliage and wild flowers. From within the home the majesty of surrounding Falling Water, like Wright's prairie houses, demonstrates the strong impact of Japanese architecture. Centrally located is the fireplace affording togetherness for the family. Vertical elements of the building are of locally sourced stone exaggerating the plasticity of the existing rocks. Horizontal elements are all insitu concrete. Internal floors are all of stone, like the walls. Carpentry work is from grained walnut.

exterior

Christopher Little / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

exterior

Lykantrop / http://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_-_Fallingwater_interior_5.JPG

exterior

Lykantrop / http://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_-_Fallingwater_interior_5.JPG

exterior

Lykantrop / http://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_-_Fallingwater_interior_5.JPG

interior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Christopher Little / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

interior

Lykantrop / http://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_-_Fallingwater_interior_5.JPG

interior

Lykantrop / http://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_-_Fallingwater_interior_5.JPG

site plan

Wright, Frank Lloyd / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

floor plan

Wright, Frank Lloyd / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

floor plan

Wright, Frank Lloyd / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

floor plan

Wright, Frank Lloyd / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

cross section

Wright, Frank Lloyd / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

elevation

Wright, Frank Lloyd / Bruce Brooks Pfeiffer: Wright, Taschen / Vincze Kiadó 2006

This was the first commission for Gropius in the USA. The client, Mrs Jane Storrow, financed this project which on completion was rented to the architect.

Before undertaking this design the architects studied the local, New England, vernacular for stone plinths, brick fireplaces and red wood cladding. All of these ideas were developed in the new building. The house is placed on a north-south axis, accessed by a mosquito netted patio. Vertical circulation is gained to the bedrooms at the intersection of the upstairs east-west axis.

Excluding the unique curved handrail to the staircase every part of this home could be purchased as standard building materials found in trade catalogues. The intention being to demonstrate that mass produced items can be used to build an affordable, artistic home, available to everyone.

exterior

ismereten / Magyar Építőművészet, 1992/6., 41. old.

exterior

ismereten / Magyar Építőművészet, 1992/6., 41. old.

exterior

ismereten / Magyar Építőművészet, 1992/6., 40. old.

exterior

ismereten / Magyar Építőművészet, 1992/6., 40. old.

exterior

ismereten / Magyar Építőművészet, 1992/6., 41. old.

exterior

ismereten / Preisich Gábor: Walter Gropius, Akadémiai Kiadó, Budapest 1972

interior

ismereten / Preisich Gábor: Walter Gropius, Akadémiai Kiadó, Budapest 1972

floor plan

Walter Gropius / Breuer Marcel / Preisich Gábor: Walter Gropius, Akadémiai Kiadó, Budapest 1972

floor plan

Walter Gropius / Breuer Marcel / Preisich Gábor: Walter Gropius, Akadémiai Kiadó, Budapest 1972

This villa is a synthesis of traditional Finnish architecture and modernism. Designed by Aalto for the Gullichsen's, located on a hilltop in western Finland. The client's wished for a home that reflects the economic, social and artistic context of the era.

Facing the entrance is the dining room, living room with large division walls, a sense of "flowing space" being created by changes in floor and ceiling levels. Steel support columns are covered with black rattan or birch bark, indicating the diversity of nature, humanising the interior by use of brittle materials. A sauna constructed from Finnish pine is placed in a separate building connected by a covered way to the main house and free form swimming pool. The home and sauna created a "U" shaped courtyard bounded on one side by forest. The remainder of the building is rendered white: balconies, handrails and other elevational details in teak cabinetry.

exterior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Alvar Aalto Taidesaatio / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Alvar Aalto Taidesaatio / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

interior

Alvar Aalto Taidesaatio / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

detail photo

Alvar Aalto Taidesaatio / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

detail photo

Alvar Aalto Taidesaatio / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

site plan

Aalto, Alvar / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

floor plan

Aalto, Alvar / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

cross section

Aalto, Alvar / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Aalto, Alvar / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

elevation

Aalto, Alvar / Olivier Boissiere: Twentieth-century houses, Terrail, Paris, 1998

Even from a distance the modernist Newton Road House is easily recognisable as an early example of Lasdun's use of neo brutalist concrete. The building appears to be a case study strongly influenced by Le Corbusier. Only the ground floor staff quarters seem to be out of character when compared to the overall massing on other floors which are square in plan. The strict planning is only broken by a gentle curve to the stair well. Interior and exterior treatments take reference to works of Le Corbusier. Boundary walls are of brick framed by a painted, reinforced concrete. The street facade is treated with homogenous ribbons of ceramic tiles. The glass brick wall works well with the front door, to provide scattered lighting in the entrance lobby. The entrance is set back from the front elevation and appears to be supported by a pillar, which in fact is only a compositional item. Whilst clever design details include hidden interior blinds, the dumb waiter and built in flower boxes in front of the glass brick wall to the stairwell intended to provide ambient lighting.

exterior

John Havinden / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

exterior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

exterior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

interior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

interior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

interior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

exterior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

interior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

interior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

interior

Alfred Cracknell / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

floor plan

Denys Lasdun / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

cross section

Denys Lasdun / The Architectural Review, January-June 1939, Westminster, The Architectural Press, 121-132 o.

A small weekend house combines elements of the international style with local materials and construction techniques. Projecting up to 2.5m from the stone plinth a timber structure can be found. This is not a traditional rib framed building but the forerunner of modern glued and engineered wooden systems. The outer vertical boarding is glued to slanted interior boards, which acts as a self supporting structure, lintels, and does not require hidden framework in steel or concrete to support floor slabs - The outer wall is load bearing capable of absorbing bending forces.

The interiors are divided longitudinally along this structural beam. The narrow area, in plan, houses the kitchen, closet and bathroom, whilst the larger area is occupied by living, dining and sleeping spaces. The house is dominated by it's living space and large stone fireplace. Breuer's user of stone developed from his work with Gropius in England where they designed lounge furniture using stone and float glass. The north elevation is finished in rendered plaster to give a cooler space to retreat to in the summer heat. The structural system used for the veranda can be seen late on in the Farnsworth house as being from steel.

exterior

Ezra Stoller/ Esto / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Ezra Stoller/ Esto / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Ezra Stoller/ Esto / Arnt Cobbers: Breuer, Taschen / Vincze Kiadó 2007

floor plan

Breuer Marcel / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

floor plan

Breuer Marcel / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

The Sándor Nagy studio is one of two villas designed by Medgyaszay in Gödöllő. Encompassing two principles, one of early functionalism, the other that of found folk art. The former is expressed in the use of steel lintels, flat roofs and structural innovation the latter by the use of eaves, brickwork and pierced walls more indicative of Transylvanian houses.

The elevations are a combination of English Arts and Crafts style yet invoke a national character. The projecting eaves and flat roofs are inspired by Medgyaszay's studies in Vienna and can be linked to Otto Wagner's studies of Renaissance Italian villas. The studio house enclosed multifunctional spaces and larger undivided spaces as required for a family of three. The open nature of the interior spaces was not foreign to the Nagy family as they commonly mixed working, hospitality and recreation as a celebration of everyday life.

exterior

Medgyaszay emlékmúzeum / Medgyaszay István, szerk.: Potzner Ferenc, Holnap Kiadó 2004

exterior

Medgyaszay emlékmúzeum / Medgyaszay István, szerk.: Potzner Ferenc, Holnap Kiadó 2004

exterior

Medgyaszay emlékmúzeum / Medgyaszay István, szerk.: Potzner Ferenc, Holnap Kiadó 2004

exterior

Janáky István / http://epiteszforum.hu/levelek-arkadiabol

exterior

Janáky István / http://epiteszforum.hu/levelek-arkadiabol

elevation

Medgyaszay István / Medgyaszay István, szerk.: Potzner Ferenc, Holnap Kiadó 2004

floor plan

Medgyaszay István / Medgyaszay István, szerk.: Potzner Ferenc, Holnap Kiadó 2004

This villa is unique in the fact that the owner and builder are one and the same person. The exterior is subdued compared to that of most Kozma villas. The plinth being in brickwork which wraps around the house. The interiors. are elegant and functional. The real value of this Rozsadomb home being in the use of built-in furniture, custom light fittings, bathroom and fireplace.

exterior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

exterior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

exterior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

floor plan

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

floor plan

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

floor plan

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

perspective drawing

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

perspective drawing

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

perspective drawing

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

In the 1930s Kozma wrote about principles that defined architectural approaches in the past century: "If we want, our descendants to not scold us, we should build homes that allow the possibility for different lifestyles, where walls, at least the partition walls, can be effortlessly adjusted, where huge windows can be placed in accordance to the climate, to provide adequate light and allow for a wide variety of use. The house is not only capital, it is also a family future, investment: therefore flexibility of use should apply to time as well as space.

Kozma almost fully realised these principles in this Hermann Ottó Utca villa. On a steep sloping site connecting to the garden, entrance to the home is gained on the upper floor. The cubic form is bitten into to form a covered terrace and for diversity added to, creating a library area. A spectacular element of this home is the use of reinforced concrete cantilevers to support balconies and offer shading from the sun.

perspective drawing

- / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

exterior

KÖH fényképtára / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

interior

KÖH fényképtára / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

exterior

KÖH fényképtára / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

perspective drawing

Kozma Lajos / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

floor plan

Kozma Lajos / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

floor plan

Kozma Lajos / Kozma Lajos modern épületei, TERC kiadó, Bp 2006

This island, due to occasional flooding, was considered worthless for a long time apart from those who partook of water sports. This lead to a demand by water sports enthusiasts to build weekend homes on the available land. In 1932, the Helvetia Society undertook an initiative to subdivide the land into a row of small plots. With few exceptions most of these plots had direct contact with the Danube. Even today the special environment created on Lupa can be observed, this being the location of a 1935 holiday home, first built by Kozma. Due to construction cost's on Lupa being two or three times higher than usual only more affluent investors could afford to build there. The resulting buildings are found to be of reinforced concrete, raised above ground level to prevent flood damage. This choice of, concrete construction, also proved wise when considering prevention of possible damage caused by floating ice sheets.

This three occupant weekend home was developed with a projecting balcony facing the Danube. A gently sloping roof also orientates the home towards the river. Presently, nature build up of debris to the upstream end of the island has resulted in reduced flooding resulting in a garden being formed in front of the house. The heavy construction of this building, balanced by light detailing of handrails affords the project a ship like quality. The interior consists of a large space which opens up towards the terrace with a small bathroom and kitchen placed to the rear. Kozma included an ingenious built-in sofa bed to this design.

exterior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

exterior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

exterior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

KÖH Fotótára / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

interior

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

floor plan

Kozma Lajos / Kozma Lajos modern épületei, szerk. Horányi Éva, Terc, Budapest 2006

Table of Contents

Philip Johnson: Johnson House (Glass House), New Canaan, Connecticut., USA, 1949
Ludwig Mies van der Rohe: Farnsworth House, Plano, Illinois, USA, 1951
Kenzo Tange: Tange House, Tokyo, Japan, 1953
Makoto Masuzawa: House of Mr. H, Japan, 1954
Alvar Aalto: Experimental House, Muuratsalo, Finland, 1954
Christian Norbert-Schulz: Own House, Oslo, Norway, 1955
B. Goff: Bravinger House, 1955
Le Corbusier: Shodan Villa, Ahmedabad, India, 1956
James Stirling: Family House, Cowes, England, 1956
Ernst May: May House, Hamburg, Germany, 1957
Kazuo Shinohara: Umbrella House, Tokyo, Japan, 1961
Peter and Alison Smithson: Upper Lawn Pavilion, Tisbury, United Kingdom, 1962
Charles Moore: Moore House, Orinda, California, USA, 1962
Junzo Sakakura: House for Mr. K, Osaka, Japan, 1963
Ralph Erskine: Own House, Stockholm, Sweden, 1963
Wenche Selmer: Selmer House, Oslo, Norway, 1963
Robert Venturi: Vanna Venturi House, Chesnut Hill, Pennsylvania, USA, 1964
Charles Gwathmey: Residence and Studio, New York, USA, 1966
Richard Meier: Smith House, Darien, Connecticut, USA, 1967
Peter Eisenman: House III. (Miller House), Lakeville, USA, 1970
Jorn Oberg Utzon: Own House (Can Lis), Mallorca, Spain, 1971
Mayumi Miyawaki: „Blue Box” Residence, Tokyo, Japan, 1971
Louis Kahn: Fisher House, Hatboro, Pennsylvania, USA, 1973
Rudolf Olgiati: Dircks House, Flims-Waldhaus, Switzerland, 1973
Yasuhiro Yamashita: Yamanaka Lake Holiday Home, Japan, 1973
Mario Botta: Bianchi House, Riva San Vitale, Switzerland, 1973
Rudolf Olgiati: Schaefer House, Flims-Dorf, Switzerland, 1975
Tadao Ando: Koshino House, Ashiya, Japan, 1981
Mario Botta: Casa Rotonda (Medici House), Stabio, Switzerland, 1982
Günther Domenig: Domenig House, Steindorf, Austria, 1986 (2006)
Steven Holl: Berkowitz-Lodgis House, Martha’s Vineyard, USA, 1988
Peter Eisenman: Guardiola House, Santa Maria del Mar, Spain, 1988
Bart Prince: Price House, Corona del Mar, California, USA, 1989
Antoine Predock: Zuber House, Paradise Valley, Arizona, USA, 1989

Not long after graduating from Harvard he designed this home in the international style. At first this seems strikingly similar in parallel to the Farnsworth House, however these two are different in concept. The Farnsworth House comprises of slabs raised above the ground, this house sits on the ground and is bounded by glass built around a brick cylinder that houses the fireplace and bathroom. Johnson claimed this house was a comfortable place to camp between the trees. The plan area covers 17 x 9.8 metres, providing living room, dining room, kitchen, bedroom and the previously mentioned asymmetrically placed brick cylinder.

Set back from this house is a solid brick building that acts as the guest house, which appears to be the main buildings equal but opposite pair.

exterior

Norman McGrath / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Paul Rocheleau / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Ezra Stoller / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich 1959

interior

Ezra Stoller / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich 1959

plans

Johnson, Philip / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich 1959

site plan

Johnson, Philip / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich 1959

elevation

Johnson, Philip / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich 1959

elevation

Johnson, Philip / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich 1959

The Farnsworth house gave a perfect opportunity for Mies to realise his architectural ideas. Constructed for the wealthy client, Edith Farnsworth, on a spacious, woodland riverside site.

Composed from two slabs at different heights above ground level: at 1.5 metres above ground level 2/3 of the slab contained the living space, the other 1/3 a covered terrace, besides a lower patio area. The pavilion facade was subdivided by a homogeneous slim glazed wall rendering the building almost transparent.

The roof slab, as with the floor slab, was supported by four sets of steel "H" section frames: this allowing for greater freedom to strengthen the unity of the glass facade.

The pavilions interior covers 140 square metres of flowing space, into which Mies placed a timber panelled box which serves as an item of furniture (containing two bathrooms, kitchen and wardrobe). For unity all floor finishes, internal and external, are of travertine.

exterior

Colin Davies / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Hedrich-Blessing / Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

exterior

Rui Morais de Sousa / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

exterior

Rui Morais de Sousa / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

interior

Rui Morais de Sousa / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

interior

Rui Morais de Sousa / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

interior

Rui Morais de Sousa / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

interior

Rui Morais de Sousa / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

floor plan

Mies van der Rohe, Ludwig / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

cross section

Mies van der Rohe, Ludwig / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

elevation

Mies van der Rohe, Ludwig / Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

At first sight this building in the forest appears to be a simple composition of main building and outhouses. This "L" shaped plan creates a three bedroom house enclosing a courtyard. Only the living room faces the courtyard as seen from it's large window. The other wing houses the bedrooms. The two other sides of the courtyard are bounded by free-standing walls that are perforated to form views of the lake and forest. The bedrooms are separated from the courtyard by a small corridor and face the opposite direction towards the forest. In the centre of the courtyard is a fireplace, making this space an outdoor living room. In the evenings light from a fire casts upon the richly textured brick elevations adding to the already rich character of this natural location. As this was the architects own home it provided an ideal location to experiment with materials, interior and external, patterns with brick walls and paving.

exterior

Richard Weston / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Dr. Makinen, Nils Erik Wickberg / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

exterior

Dr. Makinen, Nils Erik Wickberg / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

exterior

Dr. Makinen, Nils Erik Wickberg / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

site plan

Alvar Aalto / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

floor plan

Alvar Aalto / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

cross section

Alvar Aalto / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

elevation

Alvar Aalto / Robert Winkler: Architects' homes, Verlag Girsberger, Zürich, 1959

Originally commissioned for a different client and location ( secretary of the Ahmedabad Mill Association ), the plans where handed over to a mill owner to build elsewhere. The original plans where proposed for a bachelor in his mid-forties, the new owner, a family with four children required the house to be modified for reasons of practicality in place of prestige. Le Corbusier, saw this as an opportunity to express the same powerful imagery of the Villa Savoy. This four storey, square planned, building is accessed on all levels by a ramp. There the comparison to Villa Savoy end, This house is intended to protect against the sun not let it in, to provide shading and cross ventilation. The complex interior arrangement allows for exciting visual contact between levels. The staff to this home are located in a separate building accessed by a linking covered way.

exterior

Roger Last/ Bridgeman Art Library / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Mr. Dalal / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

exterior

Mr. Dalal / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

exterior

Mr. Dalal / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

interior

Balkrishna V. Doshi / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

interior

Balkrishna V. Doshi / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

interior

Balkrishna V. Doshi / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

floor plan

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

floor plan

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

floor plan

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

floor plan

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

floor plan

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

elevation

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

cross section

Le Corbusier / Le Corbusier - Oeuvre complete 1952-1957, Editions Girsberger, Zurich, 1958

This architect couple's Wiltshire County cottage is a modest yet exciting building. Following an extensive study of the site decided to integrate a new building with the ruins of an older building (to use a found object, object trouve) as a holiday home. The ruined buildings wall became a central feature of the new building's fabric. Apart from two concrete beams placed at 45 degrees to the existing walls, the new building was constructed using lightweight framing, partly enclosing the older buildings ground floor, which also forms part of the new homes garden terrace.

exterior

Georg Aerni / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

exterior

Georg Aerni / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

detail photo

Georg Aerni / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

exterior

Georg Aerni / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

detail photo

Georg Aerni / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

interior

Georg Aerni / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

site plan

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

floor plan

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

cross section

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

cross section

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

elevation

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

elevation

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

perspective drawing

Alison és Peter Smithson / Bruno Krucker: Komplexe Gewöhnlichkeit, gta Verlag, ETH Zürich 2002

Later known for the iconic Piazza d'Italia in New Orleans this earlier building from the outside appears to be more vernacular in style. Following on from his master, Louis Kahn's Trenton Both house of 1959, the square plan contains three loosely connected compositional elements. Two aedicula supported by eight columns form the core of this building and are visible from three sides, to the remaining side falls the bathroom block. These aedicula are capped with asymmetrical sky lights supported on columns retrieved from buildings deemed for demolition, The larger of these encloses a living space, the smaller an open bath. These structures having heavy load bearing columns allow for support to the roof freeing up the external walls for glazing. The latter can be opened up to give this home a light pavilion feeling, enclosed by a circular lawn and line of trees.

exterior

Morley Baer Photography Trust / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Morley Baer Photography Trust / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Morley Baer Photography Trust / a+u: The work of Charles W. Moore, 1978/5, a+u Publishing Co., Tokyo, Japan

interior

Morley Baer Photography Trust / a+u: The work of Charles W. Moore, 1978/5, a+u Publishing Co., Tokyo, Japan

exterior

Morley Baer Photography Trust / Gerald Allen: Charles Moore, Deutsche Verlags-Anstalt, Stuttgart 1981

floor plan

Moore, Charles / Gerald Allen: Charles Moore, Deutsche Verlags-Anstalt, Stuttgart 1981

cross section

Moore, Charles / Gerald Allen: Charles Moore, Deutsche Verlags-Anstalt, Stuttgart 1981

perspective drawing

Moore, Charles / Gerald Allen: Charles Moore, Deutsche Verlags-Anstalt, Stuttgart 1981

Post Second World War Norway saw the rise of talented female architects like Wenche Selmer recognised for her homes designed in 1964 and works with her husband Jens Selmer, 1969 award winner for Timber architecture. Mostly known for their public buildings, during a career covering 44 years designed more than 100 small weekend houses and cottages.

This house on the outskirts of Oslo demonstrates that high quality architecture can be achieved at low costs. This 125 square metre home more than adequately accommodates a family of four and the parent's own studio space. The home is hidden from the road by a thick hedge, with windows looking into a private garden. Beside this the entrance is accessed via a small shallow pitched roofed terrace. The building form is staggered to define the difference between private and public spaces, an idea further reinforced by the roof form. The common living room appears to be obstacle free, with a large sliding door opening towards the garden. The kitchen work surface has also been designed to function as a clear visual device to separate internal spaces. Direct connection to the garden has aided the designers in creating a home that seems spacious and comfortable on a limited footprint area.

exterior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

exterior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

interior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

interior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

interior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

interior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

interior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

interior

Jens Salmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

floor plan

Wenche Selmer / Elisabeth Tostrup: Norwegian Wood, Princeton Architectural Press, New York 2006

The building is both consistent and inconsistent, is both complex and simple, open and closed, big and small - Venturi accurately reflects the principles of critical modernism (Venturi: Complexity and Contradiction in Architecture). The floor plan and a crowded symmetry and asymmetry contradictory mixture: a gate-like entrance hides the side door, the interiors of the chimney and staircase "compete" in the central place of the facade elements at different scales, however the layout is still perfectly functional.

exterior

Richard Bryant/ Arcaid / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

A Sanmartin / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

detail photo

A Sanmartin / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

detail photo

A Sanmartin / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

floor plan

Venturi, Robert / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

floor plan

Venturi, Robert / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

cross section

Venturi, Robert / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

cross section

Venturi, Robert / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

elevation

Venturi, Robert / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

elevation

Venturi, Robert / Venturi,Rauch and Scott Brown, szerk. A. Sanmartin, Karl Kramer Verlag, Stuttgart, 1986

The 1972 Wittenborn publication "Five Architects" poetically approached the possible paths New York architects Peter Eisenman, Michael Graves, John Hejduk, Charles Gwathmey and Richard Meier might take regarding modern architecture. It became apparent that Gwathmey in partnership with Robert Siegel would stay closest to the purity of modernism.

Two geometric forms are placed on this grassy plot of land on Long Island. The staircase drawing comparisons to Le Corbusier's house for Henry Fruges. From a distance this building appears to be concrete but in fact they are cedar clad. The larger of the two buildings, three storey, resembles an architectural model built at a scale of 1:1. Built for the architects parent's, measuring 111 square metres, was added to a year later with a smaller studio set at an angle of 45 degrees.

exterior

Gwathmey Siegel and Associates / James Soane: New Home, Conrad Octopus Ltd., London 2003

exterior

Scott Frances / Esto / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

exterior

David Hirsch, William Maris / Five Architects, Oxford University Press, New York, 1975

exterior

David Hirsch, William Maris / Five Architects, Oxford University Press, New York, 1975

exterior

David Hirsch, William Maris / Five Architects, Oxford University Press, New York, 1975

exterior

Scott Frances / Esto / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

interior

Scott Frances / Esto / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

interior

Scott Frances / Esto / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Gwathmey, Charles / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Gwathmey, Charles / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

Meier, also one of the "Five Architects" (see Gwathmey residence and studio) and a central figure in contemporary architecture. One of his early house design's, accessed by a small bridge due to the steepness of the site terrain by means of a small entrance door offers views of the sea from an open sided facade. The plan form and spatial composition is somewhat reminiscent of works by Le Corbusier and other modernists. According to Meier, "... the nature around us is changing and the architecture should reflect these changes. The nature and colour changes daily admission must help, rather than changes in the architecture. "

exterior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

exterior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

exterior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

interior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

interior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

interior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

interior

Richard Meier / Five Architects, Oxford University Press, New York, 1975

site plan

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

floor plan

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

floor plan

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

floor plan

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

cross section

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

cross section

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

elevation

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

elevation

Meier, Richard / Five Architects, Oxford University Press, New York, 1975

This house which appears modest at first is located on a cliff top over looking the Mediterranean, accessed by a single opening in a wall. This is not actually a single house but four separate buildings including a guest house, interconnected by indoor-outdoor spaces intended to take advantage of various climatic conditions. The structure of this building group being a pink-yellow rough sawn sandstone that seems to change colour. The house is of 40 x 40 cm or 40 x20 cm blocks and external pillars of 40 x 40 cm blocks.

These blocks are constructed using Chinese bonding to support white painted concrete slabs. The roofs are tile covered and fireplaces, chimneys, built to local tradition.

exterior

Soeren Kuhn / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Soeren Kuhn / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Soeren Kuhn / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Soeren Kuhn / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Soeren Kuhn / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Soeren Kuhn / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Utzon, Jorn Oberg / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

elevation

Utzon, Jorn Oberg / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

"I always start with a square" - says Kahn about the Fisher House. This house looking like a pair of dice dropped on to a table. The living room and bedroom are connected at the angled intersection of the two volumes. Although not perfect cubes visually they appear to be so. Spatially the volumes are divided to indicate private and semi private spaces.

The building is constructed from a traditional timber frame that has only one variation, being the semicircular fireplace and chimney built from stone.

exterior

Klaus-Peter Gast / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

exterior

Klaus-Peter Gast / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

exterior

Klaus-Peter Gast / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

exterior

Klaus-Peter Gast / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

exterior

Roberto Schezan/ Esto / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Klaus-Peter Gast / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

interior

Klaus-Peter Gast / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

interior

Roberto Schezan/ Esto / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

site plan

Kahn, Louis / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

floor plan

Kahn, Louis / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

floor plan

Kahn, Louis / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

cross section

Kahn, Louis / Klaus-Peter Gast: Louis I. Kahn, The Idea of Order, Birkhauser, Basel 2001

Rudolf Olgiati is the father of contemporary Swiss architect Valerio Olgiati, known for creating buildings following the Swiss tradition in and around Flims. An old solid wood structure of a house in Flims was transformed by a plastered brick extension. The house has two distinct wings only showing strong differences in materials, otherwise organically articulated to one another. Faithfully preserving the historic character of the building: a large asymmetrical window and corner windows allow for distribution only to conclude that it is a new part of the building. The expansion follows the old wooden ridge line. This extension of natural slate cladding and wooden covering is continued. It is also possible to observe Rudolf Olgiati's favourite detail solution: a mass of white plastered walls and a projecting gutter.

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

floor plan

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

floor plan

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

floor plan

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

This development, although totally new for it's time, is based upon traditional values and centuries worth of experience in building Alpine homes. Massing of structure and placement of openings also follow style. This building is a semi-detached house that houses a five bedroom and a three bedroom home. The obtuse angle at which each volume is placed directly relates to each part of this home. The large home is approached from above and the smaller is accessed from a basket like structure enclosing the garage door. The roof is typical of Olgiati in form and only has it's form punctuated to illustrate location of bedrooms.

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

exterior

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

detail photo

Speich AG, Fotoplast AG, Offset Repro AG / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

floor plan

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

floor plan

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

cross section

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

elevation

Rudolf Olgiati / Die Architektur von Rudolf Olgiati, Organisationsstelle für Architekturaustellungen und ETH-Hönggerberg, Zürich, 1983

Found in a suburb of Stabio. Due to the chaotic nature of the surrounding built environment the architect chose to design this house using the landscape as a starting point. This building can be viewed as abnormal in regard to its neighbour's due to the cylindrical massing (elevations, roof form).

The cylindrical block is cut on a north south axis allowing for light to penetrate its interior spaces. The three storey villa is organised around a cylindrical central core. The ground floor acts as a transitional space between the exterior and interior, the first floor as living space and second floor as bedrooms.

This tightly engineered concrete building has facades of broken, worn, uneven brickwork.

Botta designed this building to be symmetrical, moderate, compact in tune with European architectural tradition, without alluding to the superficial use of form.

exterior

Botta Archive / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Gustavo Gili Galfetti / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

exterior

Gustavo Gili Galfetti / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

interior

Gustavo Gili Galfetti / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

detail photo

Gustavo Gili Galfetti / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

interior

Gustavo Gili Galfetti / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

floor plan

Botta, Mario / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

floor plan

Botta, Mario / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

floor plan

Botta, Mario / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

floor plan

Botta, Mario / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

cross section

Botta, Mario / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

elevation

Botta, Mario / Mario Botta 1980-1990, Verlag für Architektur, Zürich, 1991

This house clearly expresses the Graz school of thought regarding neo-expressionist tendencies. Design and construction of this house, on the shore of lake Ossiacher, was started in 1986 and completed in 2006. Concrete and steel is used to express Domenig's interpretation of landscape, childhood memories and protest against everyday monotony.

exterior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

detail photo

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Gerald Zugmann / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

site plan

Büro Günther Domenig, Kagenfurt / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

cross section

Büro Günther Domenig, Kagenfurt / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

Of the buildings designed by Eisenman, the Guardiola House, is viewed the most successful. located on a hillside for two people: father and son. if it is possible to distinguish levels then this is a three storey home. It could be said that the basement and ground floor are in part a steep slope from which structural masses rise, sliding about each other, creating volumes were nothing is really as it seems to be. Even the spaces within, as with the levels, are hard to define in this building.

The masses and structural design give the effect that these systems have performed some complicated motion that would have stopped at a given arbitrary moment, however, the building creates a sense of harmony nevertheless.

model photo

Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989 / Kunszt György - Klein Rudolf: Peter --Eisenman, Akadémiai Kiadó, Budapest 1999

model photo

Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989 / Kunszt György - Klein Rudolf: Peter --Eisenman, Akadémiai Kiadó, Budapest 1999

model photo

Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989 / Kunszt György - Klein Rudolf: Peter --Eisenman, Akadémiai Kiadó, Budapest 1999

concept drawing

Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989 / Kunszt György - Klein Rudolf: Peter --Eisenman, Akadémiai Kiadó, Budapest 1999

site plan

Peter Eisenman / Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989

floor plan

Eisenmann, Peter / Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989

perspective drawing

Peter Eisenman / Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989

cross section

Peter Eisenman / Andrea Papadakis: Dekonstruktivismus, Klett-Cotta, Stuttgart, 1989

Table of Contents

Rem Koolhaas: Villa dall’Ava, Paris, France, 1991
Masaharu Takasaki: Zero Cosmology, Kagoshima, Japan, 1991
Alberto Campo Baeza: Casa Gaspar, Zahora, Spain, 1991
Herzog & de Meuron: Villa E. M., Tavole,Italy, 1988-93
Ben van Berkel: Wilbrink House, Amersfoort, Holland, 1994
Peter Barber: Anbar Villa, Dammam, Saudi Arabia, 1993
Eduardo Souto de Moura: Own House, Ria Cartelas Vieira, Portugal, 1993
Adam Caruso: Own House, London, England, 1994
FOBA: Aura House, Tokyo, Japan, 1994
Frank O. Gehry: Own House, Santa Monica, California, USA, 1978-1994
John Pawson: Own House, London, England, 1994
Simon Ungers: Ithaca House (Cube House), Ithaca, USA, 1995
Shigeru Ban, Furniture House, Tamanashi, Japan, 1996
Heidi and Peter Wenger: Wenger House, Rosswald, Switzerland, 1996
Ken Shuttleworth: Crescent House, Wiltshire, England, 1997
Kazuyo Sejima (SANAA): M-House, Tokyo, Japan, 1997
Adolf Krischanitz: Own House, Steinaweg, Austria, 1998
Rem Koolhaas: Bordeaux House, Bordeaux, France, 1998
Alvaro Siza: Vieira de Castro House, Vila Nova de Famalicao, Portugal, 1994
Carlo Baumschlager - Dietmar Eberle, Allgaier House, Lochau, Switzerland, 1998
Andreas Henrikson: Black House (Black Box), Halmstad, Sweden, 1999
Henning Larsen: Holiday Home, Vejby Strand, Denmark, 2000
Denton Corker Marshall: Emery Residence, Cape Shank, Australia, 2000
Sean Godsell: Carter/Tucker House, Breamlea, Australia, 2000
Satoshi Okada: House on Fuji, Japan, 2000
Alberto Campo Baeza: De Blas House, Madrid, Spain, 2000
Markus Wespi and Jérome de Meuron: Flawil House, Flawil, Switzerland, 2000
Stefan and Bernhard Marte: Steinhauser House, Fussach, Austria, 2000
David Adjaye: Elektra House, London, England, 2000
David Adjaye: McGregor House, London, England, 2000
Tony Fretton: Red House, London, England 2001
Stefan and Bernhard Marte: House in Furx, Furx, Austria, 2001
Engelen Moore: Dodds House, Sydney, Australia, 2001
Alvaro Siza: Van Middelem Dupont House, Oudenburg, Belgium, 2003
Mass Studies and Slade Architecture: Pixel House, Gyeonggido, South Korea, 2001
Hiroaki Ohtani: Own House (Layer House), Kobe, Japan, 2003
Stephen Atkinson: Zachary House, Zachary, Louisiana, USA, 2003
Roberto Graca Correia and Ragaazi: Weekend House, Canicada, Portugal, 2003
Dekleva Gregoric Architekti: XXS House, Ljubljana, Slovenia, 2004
Bevk Perovic: SB House, Ljubljana, Slovenia, 2004
Atelier Bow Wow, Studio and Home, Tokyo, Japan, 2005
Fatima Fernandes and Michele Cannata: Exponor House, Matosinhos, Portugal, 2002
Eduardo Arroyo, Family House, Madrid, Spain, 2006
Atelier Tekuto, Mineral House, tokyo, Japan, 2006
Valerio Olgiati: Studio Home, Scharans, Switzerland, 2007
Alvaro Siza: Alemao House, Sintra, Portugal, 2007
Christian Kerez: Single Wall House, Zurich, Switzerland, 2007
Bevk Perovic: HB House, Ljubljana, Slovenia, 2007
Sou Fujimoto: N House, Oita, Japan, 2008
MOS: Floating House, Lake Huron, Canada, 2008

This towering mass of concrete can be found on Japan's Southern island. Totally at odds with the pitched roof houses and industrial units founds in this suburb of Kagoshima. The central living space is an oval mass supported in by reinforced concrete frame over a central pool. This living space has no furniture as it is intended that occupants sit on an inner concrete ring. This space is lit by 54 holes. The supporting concrete structure acts as a transitional space to the surrounding landscape and the adjacent kitchen, dining, bathroom and bedroom block. This three storey home is a direct manifestation of the microcosm it encloses and the sky abstracted in it's concrete frame.

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Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

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Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

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Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

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Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

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Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

interior

Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

interior

Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

interior

Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

detail photo

Hans Sautter / John Welsh: Modern House, Phaidon, London, 1996

floor plan

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

floor plan

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

floor plan

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

floor plan

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

cross section

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

elevation

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

elevation

Masaharu Takasaki / John Welsh: Modern House, Phaidon, London, 1996

Unlike his peers, Alberto Campo Baeza does not feel a need to express a Spanish identity or sense of place in his works. Considered to be a purist, old fashioned, follower of Le Corbusier. His floor plans are both geometric and crystalline leading to a subtlety of construction.

This building stands alone in a grove of trees, surrounded by a 3.5 metre high wall. The principle being that of introversion to protect the importance of private life: nothing unusual to Baeza as he creates an ethereal world based upon geometry. The floor plan is square divided into three, right angled, bands. The resulting 4.5 metre high space, logic provides, to be the living space. The geometry is further defined by a lack of visible structural elements, white painted interiors, walls surrounding living space being glazed with no need to express window frames.

Baeza home's are not only white as an aesthetic reference to modernism, or a means of abstraction. The white is intended to: reflect, trap and superimpose other objects and surfaces.

exterior

Hisao Suzuki / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

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Alberto Campo Baeza / John Welsh: Modern House, Phaidon, London 1995

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Alberto Campo Baeza / John Welsh: Modern House, Phaidon, London 1995

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Alberto Campo Baeza / John Welsh: Modern House, Phaidon, London 1995

floor plan

Alberto Campo Baeza / John Welsh: Modern House, Phaidon, London 1995

cross section

Alberto Campo Baeza / John Welsh: Modern House, Phaidon, London 1995

perspective drawing

Alberto Campo Baeza / John Welsh: Modern House, Phaidon, London 1995

In the relatively new, oil rich, city of Dammam is Saudi Arabia, est. 1920 stands a concrete villa in the suburb of Tabaishi( 1930s-40s). An area noted for it's Art Deco influences. Barber designed a home for a widow with four children and grandchildren who share their time between London and Dammam. This appears to be at the intersection of Western and Gulf cultures, following the minimalist lines of Le Corbusier, Niemeyer, Siza whilst retaining a local influence.

The owner being a widow has not provided for male dominance in this home, there is one access to the courtyard to be used by men and women alike. The living room is also as one, not gender separated. There is a separate ladies living room but even this is connected to the other spaces by a small window. The staff are located at roof level, separate from the family, with their own roof garden. The home itself is a compact form only deviated from be the inclusion of a separate building to house the garage and provide a home for the chauffeur.

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

interior

Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

perspective drawing

Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

elevation

Peter Barber / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

Born in 1952 this architect studied at the Portuguese Academy of Fine Arts, then worked for Alvaro Siza for five years. The Moura house was built in 1993 with views to the harbour from a hillside above the port town. The home is comprised of small spaces placed as to decompose the longitudinal walls in a transverse direction, dividing walls placed parallel to each other. Courtyards being formed corten each space. The outside facade is dominated by a rustic stone wall , suggesting that it is a fence that has holes along its length. The architectural basis being that, as with most of the homes in this region, it is a wall with a home built into it. Sophisticated trapezoidal geometry adapt to the triangular form of the building's plot. A balanced, practical interior layout includes exciting games based on contrasting pairs : the design, variety of materials and geometry achieve special effects. An example of this being the trapezoidal flooring used to create a "false orthogonality".

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L. F. Alves / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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L. F. Alves / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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L. F. Alves / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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Duccio Malagamba, Barcelona / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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Duccio Malagamba, Barcelona / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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Duccio Malagamba, Barcelona / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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Duccio Malagamba, Barcelona / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

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Duccio Malagamba, Barcelona / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Eduardo Souto de Moura / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

Known for partnership Caruso and St Jones and the New Art Gallery in Birmingham. Established shortly after working with Florian Beigel and the Arup Group. This architect is well known in mainstream English architecture for his opposition to high-tech, minimalism and postmodernism.

The house ( and Studio ) are found in a side street as part of a converted, old, warehouse. The original structure has been left intact as have the elevations. The building has been left raw, masonry repaired where required leaving a basic furnished work space on the ground floor. The only place where original materials have not been retained is to the side street allowing for a large glass wall to allow better lighting to the interior. The only comfortable rooms can be found upstairs , bedrooms and living room . The designers chose to experiment with aesthetic of leaving surfaces unfinished, plasterboard, to help form spaces and pattern language.

exterior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

exterior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

interior

Hèléne Binet / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Adam Caruso / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

floor plan

Adam Caruso / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

cross section

Adam Caruso / Gennaro Postiglione: 100 Häuser für 100 Architekten,Taschen Deutschland GmbH, Köln, 2008

Pawson's office shelves in London contain many folders, photos, accurately documenting the construction of his own home. This demonstrates his artistic need to not only achieve the final result but also every step required to get there.

The original Victorian home's street elevation, apart from the entrance door, has remained unchanged. Whilst the interior has been completely transformed.

Interior functions have been reconsidered to require the minimum need for interior walls. The ground floor has been handled as one space incorporating an oak table, designed by Pawson, and simple fireplace. The kitchen and dining room have been relocated to the basement. The upper floor provides for bedrooms and children's room. Each level is connected by a simple single flight of stairs.

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Richard Glover / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

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Stale Erikren / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

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Stale Erikren / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

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Stale Erikren / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

detail photo

Stale Erikren / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

detail photo

Stale Erikren / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

detail photo

Stale Erikren / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

floor plan

John Pawson / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

floor plan

John Pawson / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

floor plan

John Pawson / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

floor plan

John Pawson / John Pawson, szerk. Deyan Sudjic, Phaidon, London 2000

This tiny cottage in Switzerland is located 200 metres above sea level. Steep angled roof framing forms the interior volume of this building, evoking the region's traditional forms. The primary material used throughout is timber, for coverings, structure, furniture and fixings. The interior is two level of continuous space. A simply massed west wall can pivot open to create a terrace accessed via triangular windows.

The compact interior invokes the feeling of a small sailing craft mostly comprising of built in furniture such as the kitchen unit and recessed seating. The triangular timber structure, which also supports the upper floor, sits on concrete pillars. The roof being covered in pine shingles adapts to the character of the site and the remaining structure is stained white for reasons of clarity.

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Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

detail photo

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

detail photo

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

interior

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

detail photo

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

floor plan

Heidi és Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

floor plan

Heidi és Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

cross section

Heidi és Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

elevation

Heidi és Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

plans

Heidi és Peter Wenger / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

This site has two characters: one side is a beautiful country side landscape, the other a waste disposal and sewerage treatment plant. This lead to the development of a half-moon shape. One side offering protection the other views of the garden. The entrance is located between two crescent elements: one of which is the open living space, the other housing the bedrooms.

Shuttleworth sees this crescent like solution to be somewhat like a medieval castle wall, with cells enclosed in the thickness of the massing only illuminated by sky lights. This idea the designer confirmed as personal experience: " Always remember that as a boy, sleeping in a tent, with my head out of the tent, so you can see the stars at night."

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Nigel Young/ Foster and Partners / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Ken Shuttleworth / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Ken Shuttleworth / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Ken Shuttleworth / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

cross section

Ken Shuttleworth / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

elevation

Ken Shuttleworth / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

perspective drawing

Ken Shuttleworth / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

Houses in this street generally face south, have curtained windows and fences facing the street for privacy reasons. Sanaa decided to treat this differently by placing a light well within the volume of the home.

The regular plan form was turned around. At street level it was decided to locate the garage, guest room and bedrooms, then in contradiction to tradition no upper floor was provided, instead a basement that houses the kitchen,dining and living rooms. Both levels are lit from above by light wells. The building is metal sheet clad and the light wells covered by a pergola of regular steel, mesh like, framing.

exterior

The Japan Architect Co., Ltd. / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

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The Japan Architect Co., Ltd. / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

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Shinkenchiku-sha / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Shinkenchiku-sha / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Shinkenchiku-sha / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Shinkenchiku-sha / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

site plan

Kazuyo Sejima / SANAA / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Kazuyo Sejima / SANAA / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Kazuyo Sejima / SANAA / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

cross section

Kazuyo Sejima / SANAA / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

elevation

Kazuyo Sejima / SANAA / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

The house appears to be a large concrete single storey mass floating on a steel beam. Each of this building's three levels has a different character: The lower floor, an enclosed basement set in to the hillside. The ground floor an open glass space. The upper floor is a concrete box, that only the parent's room gas a conventional window and the children's rooms portholes. The latter being located near beds, bath and desks.

A key factor of this home is the large lift that gives the wheelchair bound owner of this home access to all floors.

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Colin Davies / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

interior

Colin Davies / Colin Davies: Key Houses of the Twentieth Century, Laurence King Publishing Ltd, London, 2006

exterior

Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Philippe Ruault / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

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Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

exterior

Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

detail photo

Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

interior

Hans Werlemann, Hectic Pictures / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

site plan

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

floor plan

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

cross section

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

cross section

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

cross section

Rem Koolhas / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

To the north of Vieira de Castro, Vila Nova de Famalicao a site had been set aside by a previous owner to build a sanatorium. At the final stages of this project sufficient funds remained to build a house at the rear of the garden.

On this rocky, pine forested site a house was constructed that looks like an abstraction of a small town. This home is reached via a tree lined road after passing some Corten steel gates. Access is then gained to the home by passing a garden terrace and swimming pool. The home itself has views to the surrounding mountainous countryside.

The living, dining room and kitchen furniture are also designed by Siza.

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Christian Richters / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

floor plan

Alvaro Siza / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

floor plan

Alvaro Siza / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

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Alvaro Siza / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

cross section

Alvaro Siza / Philip Jodidio: Alvaro Siza, Taschen, Köln, 2003

This house on the side of Mount Bregenz aims to offer uninterrupted views from all of its three floors. The tower like building, as required by the designers, consists of a four storey detached house locating accommodation above service areas. Following ideas by Le Corbusier, that a building should produce the functional parts of such a way as to allow surfaces free for contact with nature. The building's exterior expresses a duality of forms where holes are placed in the form, on a square base, supported by brick clad walls that permeate the terrain and a lightweight glazed platform as place of arrival. The interior is also surprising in its use of a controlled lobby space and leading to a curved single flight staircase, supported on two columns, intersecting the floor plan. At this level an open planned kitchen, living room and roof garden can be found. On the level directly below the bathroom block. On the next level down is a separate apartment with its own kitchen and bathroom. The lowest level can only be accessed from outside. The buildings overall form is rectangular and steps backwards according to the slope of the land. The planning of this home in spite of the striking curved elements remains spartan in character.

exterior

- / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2000

detail photo

- / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2001

exterior

- / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2002

floor plan

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2003

floor plan

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2004

floor plan

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2005

floor plan

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2006

cross section

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2007

elevation

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2008

elevation

Carlo Baumschlager - Dietmar Eberle / Liesbeth Waechter-Böhm: Über-Wohnbau, Springer, Wien, 2009

Built on a hill above Madrid, the concrete plinth to this houses appears to be a geometric extrusion from the surrounding landscape. To reflect the surrounding forest the concrete was rough shutter in timber to leave an imprinted surface. Upon this plinth sits a white painted steel and glass frame. The load bearing structural elements are hidden giving the appearance of a floating roof. This pavilion like home can only be accessed from below, creating an ivory tower effect, the only non fixed items of furniture, a white sofa, face north.

The lower level plan, within the plinth, is almost symmetrical with bedrooms placed 2-2 in an ascetic, monastic manner. Each has it's own bathroom and walk-in closet.

exterior

Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

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Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

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Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

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Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

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Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

exterior

Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

interior

Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

interior

Hisao Suzuki / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

floor plan

Alberto Campo Baeza / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

floor plan

Alberto Campo Baeza / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

cross section

Alberto Campo Baeza / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

elevation

Alberto Campo Baeza / Simone Schleifer: Family Houses, Taschen GmbH, Köln, 2005

These brothers usually work only in Western Austria but in 2010 represented their homeland in the Architectural Biennial in Venice.

This 85 square metre boat house was built directly on the edge of a small canal. The building structure and coverings are of light materials, aluminium sheet, for reasons of practicality. The latter use of aluminium also being practical as the building is in contact with water and should not corrode. To contrast with the cold exterior the interior is finished in osb board and red finished boards usually intended for concrete shuttering. Although this building is relatively small it functions well on all levels. Unusual to this house is the central stair and large roof light that are both moved by hydraulic pumps.

exterior

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

detail photo

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

detail photo

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

interior

Ignacio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

site plan

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

floor plan

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

floor plan

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

cross section

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

elevation

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

elevation

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

elevation

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

In a suburb of London a couple with small children chose to redevelop a former industrial building.

The architect chose to retain the original structure, over cladding it with a metal sheeting. The frame of which also supports the upstairs bedrooms. This was intended to contrast heavily with the surrounding Victorian houses.

The closed exterior is intentional as are the skylights, to avoid contact with the surrounding environment. The south wall is fully glazed. This home is accessed by means of a private side entrance and the blank elevation is designed to give a sense of mystery.

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

floor plan

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

floor plan

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

cross section

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

elevation

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

elevation

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

Adjaye was commissioned, by Ewan McGregor, to transform and expand one half of a semi-detached house in St John's Wood. This design of this had two important aspects: improved connection of existing spaces and an intensive expansion into the garden area. To create an open floor plan a steel frame was used in connection with existing garden walls. This in turn allows for glazing to be provided to the basement area towards the garden. The result being a glass pavilion, dining room, that opens across its full width onto the garden patio.

The existing building was radically transformed. The original stairwell core has been retained between ground and first floor, whilst three additional stairs have been added to join remaining levels. This interconnection of spaces, levels and heights can be viewed in relationship to works by Adolf Loos.

Surfaces are painted the same colour throughout, fixed or moveable MDF partitions are used to divided spaces, in some case revealing the buildings original structural details. Floors are finished in timber throughout apart from the terrazzo basement.

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

exterior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

detail photo

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

interior

Lyndon Douglas / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

plans

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

cross section

David Adjaye / David Adjaye: Houses, szerk. Peter Allison, Thames ans Hudson, London 2005

This house was commissioned to act as a home, place of work and art gallery to house a large collection of contemporary art. The house itself, the client suggested, should also be a work of art.

This home as an individual element, part refurbishment, part new continues the classic architectural character of this area. The facades elevational treatment brings alive the local themes. At street level this red sandstone clad building follows the site boundary. Each floor functions according to levels of privacy, the ground floor is a public space, the mezzanine and first floor are private, residential spaces, and the roof level provides small shelters and a roof garden. The massing of these levels also coincides with the functions found within. Unusual to this location is the vegetation which provides a different view of the given urban context.

exterior

Helene Binet / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

exterior

Peter Durant/Arcblue / James Soane: New Home, Conrad Octopus Ltd., London 2003

exterior

Helene Binet / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

interior

Helene Binet / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

interior

Helene Binet / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Tony Fretton / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Tony Fretton / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Tony Fretton / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

This closed, subdued, austere house is not much different in form to others in this region. The unique quality being how the for appears different due to the placement of windows. This building tries to give maximum opportunity to view the surroundings without breaking local, high altitude, traditions. The four large glazed areas, the designers say, allows this building to expose itself through a different lens. The cruciform interior allows each space to open towards each other whilst the position of windows are placed at variable depths in the elevational plane.

exterior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

exterior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

interior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

interior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

interior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

interior

Ignazio Martínez / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

floor plan

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

floor plan

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

cross section

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

elevation

Marte.Marte Architects / Simone Schleifer: Small Houses, Taschen GmbH, Köln 2007

Extension and conversion of an old farm building to provide a home and exhibition hall. The 200 year old barn and wings of the new building create a "U" shaped courtyard. The existing building, at a finely fractured angle, has been added to with the new "L" shaped area of building. The skewed composition allows Siza the opportunity to locate an exhibition hall and garage in such a way that the existing building appears to be the new element in this orthogonal composition. The puritan interior spaces are typical of Siza's approach to the modern, whilst the exterior stays in harmony with its surroundings. The cedar and stone covered walls combined with the blue roof and window placement are consistent in character with the old stone and tiled buildings. The two wings are connected by a lightweight glass corridor.

exterior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

exterior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

exterior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

exterior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

exterior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

exterior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

interior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

interior

Hisao Suzuki / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

site plan

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

floor plan

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

elevation

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

elevation

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

elevation

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

plans

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

plans

Alvaro Siza / El croquis 140: Alvaro Siza 2001-2008, croquis editorial, Madrid, 2008

The house is situated on the site of a ruined building in a national park on the bank of the river Cavada. The architects were commissioned to build a house for a family who visited this region for nearly twenty years for water skiing and river tours. The married couple and their children needed easy access to the house for guests and storage space for water sports equipment. This region is know for heavy winter rainfall and landslides therefore reinforced concrete was chosen for construction. This semi-cantilevered structure is partly bedded into the hillside, here are located the bedrooms and bathroom. The central part of the house accommodates the living spaces and remains transparent. The cantilevered section has a private balcony, kitchen and dining room. The outer concrete shell is contrasted with a warmly finished beech veneer interior and self-leveling grey concrete floor. The renovated stone building is used for guests and sports equipment storage.

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

exterior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

interior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

interior

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

detail photo

Fernando Alda / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

floor plan

Graca Correia - Roberto Ragazzi / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

cross section

Graca Correia - Roberto Ragazzi / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

cross section

Graca Correia - Roberto Ragazzi / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

cross section

Graca Correia - Roberto Ragazzi / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

elevation

Graca Correia - Roberto Ragazzi / 7/Single-Family Housing, Editorial Pencil s.l., Valencia 2008

This small home is located within the intense urban fabric of the Krakovo district in Ljubljana. Strict town planning regulations, due to century old tradition, has dictated the basic dimensions of this house. The clients required that this home be an "urban vacation house" due to the size limit of 43 square metres. As the house faces north the main challenge was to provide adequate indirect natural lighting by means of skylights and a huge sliding glass atrium window allowing for diffused light. the house appears to be industrial in nature: elevations and roof are of fibre cement panels, interior raw concrete, terrazzo, plywood, steel and felt surfaces.

exterior

Matevz Paternoster / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

exterior

Matevz Paternoster / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

interior

Matevz Paternoster / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

interior

Matevz Paternoster / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

detail photo

Matevz Paternoster / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

detail photo

Matevz Paternoster / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Dekleva Gregoric Architekti / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

floor plan

Dekleva Gregoric Architekti / The new 100 houses, Images publishing, Victoria, Ausztrália 2007. szerk.: Robyn Beaver

Built in what the Japanese refer to as a peculiar fourth generation metropolitan area this 109 square metre plot can only be accessed by means of a narrow footpath. Naturally the question arises as to how such a location can provide for large windows, a small garden, in such a densely populated area. The obvious answer being that the neighbours fire walls become part of the composition. The windows allowing neighbours clear views of the life beyond. This openness of composition continues throughout: relationship between split levels, galleries and openings in floor slabs resulting in a beautiful use of views. Excluding the roof terrace this home and studio covers four levels of reinforced concreted slabs supported by steel frames finished in a water-repellent granular asphalt coating.

exterior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

exterior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

exterior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

interior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

interior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

interior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

interior

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

plans

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

perspective drawing

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

model photo

Atelier Bow-Wow / behaviorology, Atelier Bow-Wow, Rizzoli, New York 2010

Fernandes and Cannata view this house as a working manifesto for the ever changing nature of contemporary family homes. Alternating use of solid and transparent finishes allowing flexible use of interior spaces. Lightweight construction methods and prefabricated elements allow for rapid construction (increased accuracy and aesthetically clean). This approach to a project demonstrates the designer's beliefs regarding future construction methods and the idea that lengthy construction periods are no longer valid. Long term planning and proper management should reduce the construction time and render projects cost effective. Industrial channel glass panels are used for external walls due to the translucent quality of light, retained privacy, refined elevational detailing and ability to construct by hand. This use of translucent membranes connects solid masses, separates others and serves to create atrium spaces. The internal spaces are undivided allowing the occupant freedom to place moveable items of furniture, curtains, as to create spatial needs of their own.

exterior

iz.architects és Luis Ferreira Alves / Alaprajz 2004/5, 22. old.

exterior

iz.architects és Luis Ferreira Alves / Alaprajz 2004/5, 23. old.

interior

iz.architects és Luis Ferreira Alves / Alaprajz 2004/5, 23. old.

interior

iz.architects és Luis Ferreira Alves / Alaprajz 2004/5, 24. old.

interior

iz.architects és Luis Ferreira Alves / Alaprajz 2004/5, 25. old.

detail photo

iz.architects és Luis Ferreira Alves / Alaprajz 2004/5, 25. old.

floor plan

Fatima Fernandes - Michele Cannata / Alaprajz 2004/5, 25. old.

cross section

Fatima Fernandes - Michele Cannata / Alaprajz 2004/5, 25. old.

The granite clad, Casa Levene, can be found winding between trees in a pine grove. The steep terrain and trees being key players in development of the plan. Arroyo developed the design to comply with local planning code regarding protection of trees to create a homogenous irregular form in natural stone. The slope of the site leads to different placement of vertical functions and the tentacle like extension of the building in different directions for spatial, thrilling and twisting planar effect exaggerated by the use yellow resin coatings. The large scale openings give direct contact to the exterior from almost every room. The vibrant interiors are in stark contrast to the surrounding environment. the architect's intention being to create a "landmark " house.

exterior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

exterior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

exterior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

exterior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

exterior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

exterior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

interior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

interior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

interior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

interior

Roland Halbe / 2G n.41: Eduardo Arroyo, Barcelona 2007

floor plan

Eduardo Arroyo / 2G n.41: Eduardo Arroyo, Barcelona 2007

floor plan

Eduardo Arroyo / 2G n.41: Eduardo Arroyo, Barcelona 2007

cross section

Eduardo Arroyo / 2G n.41: Eduardo Arroyo, Barcelona 2007

cross section

Eduardo Arroyo / 2G n.41: Eduardo Arroyo, Barcelona 2007

cross section

Eduardo Arroyo / 2G n.41: Eduardo Arroyo, Barcelona 2007

elevation

Eduardo Arroyo / 2G n.41: Eduardo Arroyo, Barcelona 2007

Built for a popular songwriter and story teller, Linard Bardill, in the 800-person hamlet of Scharans, this house was located in the historically protected centre close to a private "tone" music workshop. Built on the location of a demolished barn local planning code required that any new structure follow the form of its predecessor. A third of the building's volume comprises a creative workshop for musicians, leading to the concept to create a walled courtyard garden. The airy freedom of this spacious beautiful form stands in clear contrast to the cramped intent of the regulations. Approachable from all directions via narrow streets of Scharans. What appears to be a small space is cunningly handled by Olgiati's use of an oval opening in the panel that forms the courtyard roof, the garden is possible to see into, but in fact protected from prying eyes. 150 rosettes are placed on the, many tinted, concrete walls.

exterior

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

exterior

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

exterior

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

interior

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

interior

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

detail photo

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

floor plan

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

elevation

Valerio Olgiati / http://www.archdaily.com/58695/atelier-bardill-valerio-olgiati/

Siza is already known for his familiar volumetric house in Sintra, the surprise here being the application of vertical elevational boarding. This site with an exceptionally beautiful Atlantic coastal location varies in height by 35 metres across its width. The house is located at the higher end of the site where gradients are less extreme. This generous five bedroom, kitchen, living room and study summer residence fully satisfies the representative status desired by the inhabitant family. The individual masses each provide for separate views, semiprivate seating areas and small gardens. At the same level, although requiring a few steps to accommodate changes in terrain levels, the bedrooms can be found with access to the garden. The timber cladding is intended to allow the home to age well and the building is covered with an extensive green for the same reason.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 211. old.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 212-213. old.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 214. old.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 215. old.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 216-217. old.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 219. old.

exterior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 219. old.

interior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 220-221. old.

interior

Hisao Suzuki, Fernando Guerra-FG+SG / El croquis 140, 2008/II., 222-223. old.

floor plan

Alvaro Siza / El croquis 140, 2008/II., 222-223. old.

elevation

Alvaro Siza / El croquis 140, 2008/II., 222-223. old.

elevation

Alvaro Siza / El croquis 140, 2008/II., 222-223. old.

Kerez has a working system that seeks to reduce the amount of questions one can ask about a project, providing answers in the form of models. The priority being to ensure that the structure is an integral part of the architectural expression. To create a lean aesthetic unnecessary decorative elements are not used. This semi-detached house is located on a small plot of land overlooking the centre of Zurich, subdivided in such a way as to give both occupants almost equal views. The zigzag party wall provides structural stability and variety of interior spaces. This allows for slabs to be cantilevered eliminating the need for columns. For privacy and thermal comfort external louvres have been provided.

exterior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 142. old.

exterior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 143. old.

exterior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 146. old.

detail photo

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 147. old.

interior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 148. old.

interior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 149. old.

interior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 150. old.

interior

Hisao Suzuki / El croquis 145, Madrid, 2009/II., 150. old.

floor plan

Kristian Kerez / El croquis 145, Madrid, 2009/II., 150. old.

floor plan

Kristian Kerez / El croquis 145, Madrid, 2009/II., 150. old.

floor plan

Kristian Kerez / El croquis 145, Madrid, 2009/II., 150. old.

cross section

Kristian Kerez / El croquis 145, Madrid, 2009/II., 150. old.

cross section

Kristian Kerez / El croquis 145, Madrid, 2009/II., 150. old.

Fujimoto houses are strong in conceptual content, making the architectural language easy to read.

This house was built for two adults and a dog. Layering in this building applies to available headroom and floor planning. The boundary fence to this house re-examines the stereotype of family houses. Three layers of walls and ceiling slabs create transitional spaces, interior spaces, which in turn are punctuated by roof lights. The building has a structural thinness usually found in model making. The outer shell is extruded with many bigger holes punctuating its surface, this creates a sense of openness, when compared to houses that share the same street. The inhabitants do not feel this openness as parapet walls offer visual barriers from intrusion.

exterior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

exterior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

exterior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

interior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

interior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

interior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

interior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

interior

Iwan Baan / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

floor plan

Sou Fujimoto / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

cross section

Sou Fujimoto / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

elevation

Sou Fujimoto / http://www.dezeen.com/2012/01/19/house-n-by-sou-fujimoto-architects/

Table of Contents

Tamás Gettó: Family House, Pécs, 1991
István Janáky: Ragályi House, Budapest, II.District, 1993
Dezső Ekler: Family House, Budakalasz, 1994
Péter Janesch: Own House, Budapest, II.District, 1996
Tamás Tomay: Pasaréti Villa, Budapest, II.District, 1997
Balázs Pintér: Family House, Piliscsaba, 1998
László Kalmár and Zsolt Zsuffa: Family House, Csömör, 1998
Ferenc Bán: Weekend House, Tokaj, 2000
Tamás Karácsony: Mészáros House, Testvérhegy, Budapest, II.District, 2000
János Mónus and Zsuzsa Szőke, Family House, Adyliget, Budapest, 2000
Gábor Turányi: Family House, Budapest, XII.District, 2000
Attila Turi: Weekend House, Pilisszentlászló, 2000
Gábor U Nagy: Family House, Kétvölgy, 2000
István Janáky: Family House, Solymár, 2001
Sándor S Takács: Family House, Budapest, II.District, 2001
Gábor U Nagy: Family House, Zsida, 2001
Mihály Balázs: Family House, Tinnye, 2003
Péter Basa: Family House, Budakeszi, 2003
Miklós Jancsó: Family House Makeover, Budapest, II.District, 2003
László Kalmár and Zsolt Zsuffa: Family House, Budaörs, 2005
Gábor Szokolyai: Family House, Budafok, 2005
László Benczúr Junior: Bodnár Villa, Perbál, 2006
Tamás Tomay: Family House, Budapest, II.District, 2006
Dávid Józsa: Family House, Sopron, 2007
Tamás Karácsony: Duplex Family House, Budapest, XII.District, 2007
Margit Pelényi, Family House, Pécs, 2007
László Pethő, Family House Makeover, Budapest, 2007
László Benczúr Junior: Family House, Szentendre, 2008
Tamás Bulcsu and Éva Fortvingler: Holiday Home, Balatonakarattya, 2008
Zoltán Tima: Family House, Budapest, XII. District, 2008
László Vincze, Manor Farmhouse, Köveskál, 2012

Located in a street of 1933 middle class row houses. A roof conversion was necessary to allow spaces to open up and flow into each other at different levels. The materials used are allowed to manifest original beauty by leaving them in their natural, unfinished, state. Only the street facade remained, rendered and painted, as originally intended. whilst the garden wall was stripped of rendering leaving bare brickwork. this game with finishes or lack off continues within the home. The stairs are of raw concrete, doors left unpainted, whilst the walls have been carefully skim coated to give a velvet like finish. The roof space is finished in plasterboard decorated with wrapping paper. Custom made furniture is made from OSB and MDF sheeting or solid timber.

The old garden shed was converted into a sauna and place for relaxation. The materials and forms used are more reminiscent of Japanese islands, with sliding doors and porch roof possibly being in reference to the years Janesch spent in Japan.

exterior

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

exterior

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

detail photo

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

detail photo

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Janesch Péter / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

cross section

Janesch Péter / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

plans

Janesch Péter / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

concept drawing

Janesch Péter / szerk. Lévai-Kamyó Judit: 5 ház, Terc Kft., Budapest 2003

Investors had the idea to demolish a house, designed in the 1930s by Péter Kaffka, in order to erect a six apartment building. When the plans for these apartments were nearly complete the investor instructed that the building not be demolished in order to refurbish it as a villa for himself. It became apparent that the load bearing walls and stairs could be retained but failed bauxite concrete slabs be replaced. Although for economic reasons it would have been easier to demolish this building, and start fresh, historical aspects to developing the existing fabric added significant value.

The street side of this building was not changed in terms of original massing, whilst the garden side of the building's redevelopment seem to be sheltered below a floating roof slab.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 24. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7, 25. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 25. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 25. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 28. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 28. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 28. old.

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Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 29. old.

detail photo

Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 29. old.

detail photo

Farkas Péter, Csajbók Csaba / Alaprajz, 2000/7., 26. old.

floor plan

Tomay Tamás / Alaprajz, 2000/7., 26. old.

floor plan

Tomay Tamás / Alaprajz, 2000/7., 26. old.

floor plan

Tomay Tamás / Alaprajz, 2000/7., 26. old.

elevation

Tomay Tamás / Alaprajz, 2000/7., 26. old.

elevation

Tomay Tamás / Alaprajz, 2000/7., 26. old.

Bán created a work of architecture, unique in character, distanced from contemporary trends on the eastern boarder of Hungary.

This extreme example of Hungarian architecture at the millennium serves as a weekend house on the bank of the river Bodrog. Tokaj being the birth place of this architect afford excellent knowledge of the location. The plot is located at the end of the town next to the cemetery. Across the road from this site is an abandoned industrial site previously used for mining.

The long narrow massing of this building seems unworldly: towards the wooded hillside it is completely open, to the sides a ribbon of windows sits at ground level. Through these windows only the gardens rich shrubbery can be seen. The main, two storey, volume houses the master bedroom, outside which are suspended large white bladders for use by the children and grandchildren. These have been left unfurnished, only sleeping bags are provided, it is encourage drawing upon the white curved surfaces. These bladders form part of the homes special character, but are not dominating, as the garden takes precedence. The Bladders are simply detailed, almost brutal, radiating a kind of raw functionalism.

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Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

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Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

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Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

detail photo

Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

interior

Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

detail photo

Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

detail photo

Hajdú József / Magyar Építőművészet 2001/1, 12-17 o.

plans

Bán Ferenc / Magyar Építőművészet 2001/1, 12-17 o.

This house went through several design stages from a block form to "L" shaped, resulting in the final "U" shaped layout. The multi-element mass has a clean floor plan that includes intertwining spaces which continually open up. A semi-recessed lower level has direct contact with the garden which is balanced in composition with the covered patio area to the living room on the upper level. The sloping roof covers the bedrooms and part of the roof terrace as a balancing design element from where views of the Pilis hills can be seen.

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

detail photo

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Karácsony Tamás / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Karácsony Tamás / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Karácsony Tamás / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

cross section

Karácsony Tamás / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

plans

Karácsony Tamás / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

Mónus and his wife Szőke follow a no frills approach to modernism, as seen in previous design's (OKISZ Building, Budapest), requiring clarity of principle. Their intention was to build a closed, private world, with no interest paid towards contemporary trends.

The architects had a free hand in designing this house for a married couple, psychologists, with two children. In recognition of Le Corbusier this house was built on concrete legs with a roof terrace. The simple, functional floor plan, a clear indication of construction details, drawn by hand with modern contemporary architectural character. The materials used being diverse: raw concrete, stone, wood and glass as a supporting structure and stair elements.

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

exterior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

detail photo

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Mónus János - Szőke Zsuzsa / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Mónus János - Szőke Zsuzsa / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Mónus János - Szőke Zsuzsa / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

cross section

Mónus János - Szőke Zsuzsa / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

elevation

Mónus János - Szőke Zsuzsa / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

Facing north in the Buda hills there is a large "L" shaped family home. Compact in layout, granular in massing, carefully detailed in a controlled manner to maintain simplicity of form. From the street this building appears to be sober and restrained, fitting well with its surroundings.

The main wing of the house runs parallel to the street: the entrance and living room act as one opening up towards the swimming pool. Perpendicular to the street can be found the bedroom wing. The gentle sloping, metal clad roof, clearly indicates the location of enclosed living spaces.

The brick cladding and metal roofing form an elevation treatment that is graphic in content. The rich use of brickwork especially regarding the staircase are a trademark of this architect.

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

interior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Turányi Gábor / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

floor plan

Turányi Gábor / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

cross section

Turányi Gábor / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

cross section

Turányi Gábor / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

elevation

Turányi Gábor / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft., Budapest 2003

The Őrség region of Hungary is distinguished for its sporadic distribution of settlements. This Hamlet can be found in a smaller area of this region towards the western boarder. Here a house can be found that fits within the existing patterns of traditional rural life and woodland surroundings. This house was not only designed by Gábor U Nagy he also worked as the general contractor. According to the architect this house was the last of homes that could have been built economically following principles established in the early nineties.

Two perpendicular masses of this house enclose a courtyard lawn, plants are irrigated from a cistern that collects rainwater from the roofs. At ground floor level the shorter wing houses the living room, dining room and kitchen leaving the longer wing space to house the entrance hall, closet, bathroom, study and bedrooms. The spaces within are comfortable, but not excessive. The pleasant interior character being created by use of unfinished natural materials.

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

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U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

interior

U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

floor plan

U. Nagy Gábor / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

In an area of fruit gardens, small construction plots, a tendency for building large houses had arisen. Janáky attempted to convince his client's that a house should be in proportion with its site as a basic requirement. The client therefore opted to build on three adjoining plots a house which seems small when compared to its neighbours. However, this house covers 380 square metres, comfortably housing the families three members and providing a studio space for the head of the family, a musician. This home does not follow contemporary trends for open spaces, each room functions as a closed cell, the entrance placed at the corner with a narrow staircase, as required by the client. The roof the this building being of gravel covered bitumen, serves two functions: to offer protection from the sun and more importantly to express a raw character.

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Häider Anrdea / Alaprajz 2001/8. , 14. old.

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Häider Anrdea / Alaprajz 2001/8. , 14. old.

detail photo

Häider Anrdea / Alaprajz 2001/8. , 15. old.

detail photo

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

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Häider Anrdea / Alaprajz 2001/8. , 15. old.

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Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

exterior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

detail photo

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

exterior

Hajdú József / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

floor plan

Janáky István / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

floor plan

Janáky István / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

cross section

Janáky István / szerk. Lévai-Kanyó Judit: 5 ház, Terc Kft. 2003

This II. District house at first looks has the appearance of a weekend home due to its use of materials. The carefully crafted cedar cladding making it stand out from the surrounding residential buildings. The square ground floor plan centres on a column which serves to divides the space into four parts. The ground floor level has been carefully raised above the terrain to allow for construction of a garden terrace and for three windows to provide daylight to the basement area. The living area is divided in height by four steps which is enough to provide views of the garden and define internal spaces. A narrow flight of stairs leads to the upper floor where the bedrooms and to two custom planned bathrooms. The central column casually rises through the house to the upper level, where bedrooms and built in wardrobes can be found.

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Szentiváni János / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Darabos György / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Szentiváni János / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Szentiváni János / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Darabos György / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

interior

Darabos György / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Szentiváni János / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Takács S. Sándor / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Takács S. Sándor / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Takács S. Sándor / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

cross section

Takács S. Sándor / családi házak family houses, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

Born in Sárvár this architect graduated from the Technical University of Budapest, following the change in political regime he looked for a place to escape the bitterness emerging in architectural trends, moving to Ãriszentpéter in the Ãrség region. Here he found a place to call home, amongst the Ãrség tradition values of vernacular architecture. U Nagy does not only design homes he builds them too. He did not give up design to become a building contractor as to stay in contact with the refined development of sensitive lines. Works involve a synthesis of traditional values, landscape and contemporary lifestyles. This house stands at the edge of Szentgotthárd and seems to be more rural than urban. Although modernist in proportion and asymmetry, some details appear oriental, an urban use of low pitched roofs, the actual materials used sit well with the surrounding environment. The compact massing and double chimney connect well with the site's slope and semi-sheltered terrace. Although the home seems modest the use of a single pitched roof allows the living room a grandiose feeling, as one of the most important spaces within. The ground floor houses bedrooms and bathroom, the upper floor the living room and dining room, connected to a large covered terrace. The double height elevation is clad in timber battens to offer shading, somewhat reminiscent of a Slovenian hay store.

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Hajdú József / Magyar Építőművészet 2001/3

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Hajdú József / Magyar Építőművészet 2001/3

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Hajdú József / Magyar Építőművészet 2001/3

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Hajdú József / Magyar Építőművészet 2001/3

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Hajdú József / Magyar Építőművészet 2001/3

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Hajdú József / Magyar Építőművészet 2001/3

interior

Hajdú József / Magyar Építőművészet 2001/3

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Hajdú József / Magyar Építőművészet 2001/3

detail photo

Hajdú József / Magyar Építőművészet 2001/3

floor plan

U. Nagy Gábor / Magyar Építőművészet 2001/3

cross section

U. Nagy Gábor / Magyar Építőművészet 2001/3

elevation

U. Nagy Gábor / Magyar Építőművészet 2001/3

elevation

U. Nagy Gábor / Magyar Építőművészet 2001/3

Sitting on the outskirts of this village a home with a tradition pitched roof massing can be found. The buildin contractor (also client) and architect already knew each other form previous projects. Leading to a common understanding regarding the design of this home.

The home is constructed with thick walls, doors and widows set back in accordance with the thermal insulation and heavy timber shutters, allowing for efficiency of design and craftsmanship. Larger openings can only be found to the rear of the house, leading onto a covered terrace, with views across distant arable land. A stone wall runs along the sid eothis home providing an ideal location for tool storage, summer kitchen with washing sink and a cooking grill and chimney.

Only the ground floor of this building is occupied. The attic, as in traditional homes, serves as a buffer zone. The home is placed upon a longitudinal axis extending from bedrooms, to bathrooms eventually leading into the living room and kitchen areas. The corridor is separated by bands storage spaces, and the chimney stacks to allow for heating equipment.

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

detail photo

Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

detail photo

Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Balázs Mihály / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

elevation

Balázs Mihály / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

elevation

Balázs Mihály / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

elevation

Balázs Mihály / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

This house with covered porch in Budapkeszi was built for a family of four. Relatively small in size this rectangular building allows for future expansion. The ground floor plan encloses functional box like masses located below a roof with strongly projecting eaves. The entrance hall and corresponding guest room have been designed allowing for future extension. The upper floor houses the bathroom and bedrooms, placed between two gable walls. Due to height issues on the upper floor, laundry and domestic chore spaces have been relocated to the narrow corridor. The house can be extended from its main massing in the direction of the gable walls.

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

detail photo

Bujnovszky Tamás / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Basa Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Basa Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

cross section

Basa Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

Prior to 2002, this weekend house built in the 80s had been through many transformations, eventually leading to it becoming a large family home, then being unoccupied for many years. The varied use of materials, redundant mechanical services and disturbing massing lead to the need for refurbishment. Despite this, the designer-owners, decided to retain as much of the original building as possible. Connections between the interior and garden mean that most of the interior spaces had to be assigned new functions.

Most of the interior spaces, Jancsó decided for reasons of layering, needed to be opened up. The newly insulated external wall was then finished in uniformly stained timber cladding. A new reinforced concrete roof shell was added allowing all the upper level rooms to have useable headroom. To the street side a studio space was added above the garage, the Easting covered terrace was glazed in and adjacent to this a new terrace constructed. The external timber cladding was finished with a red coloured scandinavian, weather-resistant, stain.

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Bujnovszky Tamás / Jancsó Miklós

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Bujnovszky Tamás / Jancsó Miklós

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Bujnovszky Tamás / Jancsó Miklós

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Bujnovszky Tamás / Jancsó Miklós

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Bujnovszky Tamás / Jancsó Miklós

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Hoffmann / Jancsó Miklós

detail photo

Bujnovszky Tamás / Jancsó Miklós

interior

Hoffmann / Jancsó Miklós

floor plan

Jancsó Miklós / Jancsó Miklós

cross section

Jancsó Miklós / Jancsó Miklós

elevation

Jancsó Miklós / Jancsó Miklós

This home in terms of architectural quality, formation of massing and connection to the environment exceeds the levels of its neighbours on the hillside of Budaörs. The design program was limited for this family (habitable area just over 100 square metres), complete, with an area for larger social events.

Compact massing, in the modernist tradition, with a clear and logical floor plan. Living spaces are located on one floor in a single space. The living room being exaggerated in height by means of connection to a timber framed covered terrace. The upper level also has a covered terrace covered towards the north side. This terrace is accessible without disturbing the living areas, with beautiful views across the city. The building encompasses the architectural character of the modern age by use of elegant materials (limestone, raw concrete and glass balustrades) and accurate detailing.

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Batár Zsolt / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Batár Zsolt / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

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Batár Zsolt / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

exterior

Bujnovszky Tamás / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

exterior

Bujnovszky Tamás / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

exterior

Bujnovszky Tamás / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

detail photo

Bujnovszky Tamás / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

exterior

Bujnovszky Tamás / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

floor plan

Kalmár László - Zsuffa Zsolt / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

cross section

Kalmár László - Zsuffa Zsolt / Régi-új Magyar Építőművészet 2007/1, 19-22 o.

Located on a hillside site is a subdued, almost sullen, mottled grey building, set back from the other houses. Glazed ceramic tiles homogenise the mass, along with the folded sheet metal cladding of almost the same colour. This homogeneity makes the house appear to be an abstract object. Only the white finished textile interior blinds negate the dark surfaces. Fitting of fenestration various according to function: doors and windows which open are set back from the outside plane, whilst those that are fixed are built in exactly the same plane as the outside wall, giving the effect of glazed surfaces being a decorative finish. The strict geometry and quality detailing give this house its sense of timeless excellence. However, this object also a good place to live in. The interiors-in spite of the ascetic exterior- are warmly furnished and well proportioned.

exterior

Rákosi Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

exterior

Rákosi Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

exterior

Rákosi Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

exterior

Bujnovszky Tamás / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2007/3, 38-39 o.

exterior

Rákosi Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

interior

Rákosi Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

interior

Rákosi Péter / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Szokolyai Gábor / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

floor plan

Szokolyai Gábor / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

cross section

Szokolyai Gábor / Családi házak, szerk: Lévai-Kanyó Judit, Terc Kereskedelmi és Szolgáltató Kft., Budapest, 2009

The form of this house has its roots in the pre-modern age, fitting well in the village. Finally detailed exterior rendering seeks to make dialogue with its neighbours. The buildings main mass and smaller extensions do not try to demonstrate contemporary originality or opposition to its neighbours. The living spaces within define the building and do not attempt technical or formal virtuosity. The roof is like a handkerchief raised. This gentle approach to rural architecture seems to be reminiscent of the fairy tale world of forms or works by the Japanese Terunobu Fujimori.

The ground floor living room window is set back from the outer elevation to create a shaded transitional space. Interior spaces are clearly defined by load bearing structures. The timber and steel framing clearly define the irregular forms of this home. The shape of the house is also defined by the location of supports to joists. These strange shapes and angles reflect the site boundary and views of the surrounding panorama.

exterior

Bujnovszky Tamás / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2010/5, 37-38 o.

exterior

Bujnovszky Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

exterior

Bujnovszky Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

exterior

Bujnovszky Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

exterior

Bujnovszky Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

interior

Bujnovszky Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

detail photo

Bujnovszky Tamás / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2010/5, 37-38 o.

floor plan

Benczúr László / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2010/5, 37-38 o.

floor plan

Benczúr László / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2010/5, 37-38 o.

cross section

Benczúr László / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2010/5, 37-38 o.

This duplex family villa can be found behind a raw concrete retaining wall. This retaining wall is given a rustic character due to the imprints made by vertical shuttering boards. The house itself offers a fortress-like protection to its occupants. This introverted house, internal patio garden, is carefully placed in relation to the outside world. There is no attempt to compete with the neighbouring house, the 19th country Hild Villa, or even seek a connection with it. This home is an autonomous edifice on the hillside. It is easier to see the embedded nature of this home with its terrain. Fences, retaining walls - like the other works of Karácsony - are an integral part of the design, not an accessory: each item acting as a connection to the landscape. The views from this home are panoramic towards the garden and the courtyard: whilst to the street side the brick facade is only punctuated by the kitchen window.

exterior

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

exterior

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

detail photo

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

detail photo

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

exterior

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

exterior

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

model photo

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

model photo

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

floor plan

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

floor plan

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

floor plan

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

cross section

Karácsony Tamás / Családi házak, Terc Kereskedelmi és Szolgáltató Kft., 2009

This married couple an art historian and an artist decided to move from a larger home to a smaller home in this town with a mosque, when their children left home. The first phase being to refurbish the cellar of the rural farmhouse, to function as a ceramics studio and the roof space as a spare room for guests or the children when they visit. The second phase being refurbishment of the homes main upper volume.

The client requested that in place of shared spaces each room be separate: dining room and kitchen included. This functional separation should also be seen in the treatment of elevations. The living rooms volume is defined by use of stone cladding, whistle other functions by use of timber. This almost raw functionality in the interior is reflected in the use of plastered brickwork, concrete being left raw due to the character and rhythm of different materials used when making the shuttering.

exterior

Pesti András / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2008/1, 39-41 o.

exterior

Pesti András / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2008/1, 39-41 o.

exterior

Pesti András / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2008/1, 39-41 o.

exterior

Pesti András / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2008/1, 39-41 o.

floor plan

Pelényi Margit / Régi-új Magyar Építőművészet, Magyar Építőművészek Szövetsége, Budapest, 2008/1, 39-41 o.

Ady liget is found on the outskirts of Budapest's Hűvösvölgy hills. Although a suburban area, close to the city, it is bounded by forest. The architect was awarded the contract, by a couple, to redevelop the upper floor and roof space of a 80s white-brown styled home. Parasitic forms have been attached to this, parent, home from the pitched roof. Beautiful spaces have been created following a rational plan and the use of homogeneous materials. A new cantilevered slab and external staircase were necessary interventions required to achieve the interior transformation.

To separate the new structure from the old the new staircase and external siding are from cedar battens. Interior spaces are pine surfaced, with industrial flooring and bronze coloured walls. The kitchen island provides subtle differences of tone, and a mobile background. The children's room, upstairs music room, main bedroom and bathroom are finished in an ethereal white to indicate the private zone. The rooms are not empty, they are adequately furnished, allowing for future expansion.

exterior

Máté Gábor / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

interior

Máté Gábor / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

interior

Máté Gábor / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

interior

Máté Gábor / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

interior

Máté Gábor / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

floor plan

Pethő László / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

floor plan

Pethő László / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

cross section

Pethő László / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

elevation

Pethő László / http://epiteszforum.hu/a-kortars-nekifeszul-a-80-as-eveknek

This is the closest settlement in the Lake Balaton region to Budapest. A steeply sloping site looking along the longitudinal axis of the lake. As the site had been left to overgrow it was necessary to carry out extensive pruning to reveal a pine grove of special character. Between these pines a narrow building extends. This home follows the basic formula of Lake Balaton houses: the ground floor being for social use and the upper floor a bedroom. The front garden allocates room for a guest carport. Solid retaining walls cut deeply into the site allowing for stairs to access lower parts of the terrain. Above the living area a building wing, supported on legs that dissolve amongst the pine trees, meanders. The ground floor is cut in half between the kitchen and living area by a single flight of stairs. This same division separates the upstairs bedrooms.

exterior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 3. old.

exterior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 4. old.

exterior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 4. old.

exterior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 5. old.

exterior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 6. old.

interior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 6. old.

interior

Bujnovszky Tamás / Magyar Építőművészet, 2009/2, 6. old.

floor plan

Bulcsu Tamás / Fortvingler Éva / Magyar Építőművészet, 2009/2, 6. old.

floor plan

Bulcsu Tamás / Fortvingler Éva / Magyar Építőművészet, 2009/2, 6. old.

cross section

Bulcsu Tamás / Fortvingler Éva / Magyar Építőművészet, 2009/2, 6. old.

cross section

Bulcsu Tamás / Fortvingler Éva / Magyar Építőművészet, 2009/2, 6. old.

cross section

Bulcsu Tamás / Fortvingler Éva / Magyar Építőművészet, 2009/2, 6. old.

Köveskál is a small community of 500 residents, located in the upland Basin region of the Lake Balaton. Located on the edge of this community was a former manor farm and almond plantation, which following discussions with the architect, was purchased for refurbishment. Built in the 50s and 60s, part of this development was a much neglected, due to change of ownership, pig farm. The new owner has chosen to concentrate their energies into almond growing and abandon any ideas of animal husbandry. The first and most difficult task was to disinfect the land and demolish unwanted buildings. Then it was free to design the new house, caretakers home and agricultural buildings. It was decided to use the 80 metre long existing, excellent conditioned, structure to former stables. This offered more than adequate room to build the caretakers home, tractor store and processing plant. During this process it soon became apparent that the client and architect came to the conclusion that this project held similarities to John Pawson's Baron Farm in Sweden. The concept being that a long gabled building could be split into sections, three parts, which are pulled apart to form small courtyards. The proportions of this house and two agricultural buildings, as white masses, fits well with the almond plantation as an object upon the landscape.

exterior

Vincze László - Páczelt Péter / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

3D visualizations

Vincze László - Páczelt Péter / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

3D visualizations

Vincze László - Páczelt Péter / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

exterior

Vincze László - Páczelt Péter / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

exterior

Vincze László - Páczelt Péter / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

exterior

Vincze László - Páczelt Péter / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

interior

Vincze László / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

interior

Vincze László / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

site plan

Vincze László / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

floor plan

Vincze László / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

cross section

Vincze László / http://epiteszforum.hu/vincze-laszlo-majorsagi-epuletehez

To flee from urban lifestyles, this ideal resting place was developed in one of the most westerly points of the British Isles on the Atlantic coast. Developed on the site of a former military barracks. The designers decided to follow modern ideals - to place a beautiful box in a natural location - distancing themselves from formulating ideas about the landscape. The house was developed using traditional structural solutions, avoiding high tech elements. This gave rise to a spectacular west facing window with circular air vents. This window being elliptical gave the appearance of a camera or telescope lens cutting into the landscape. Structural elements for this house are pre-manufactured for transport to and eventual fabrication on site. The kitchen and bathroom furniture were both delivered to site in their complete condition. At first glance this building appears to be technically green, in really it is not. The large glass surface snares sunlight. This thermal gain is transferred to the buildings thick thermal insulating layer using conventional mechanical engineering solutions. The building was not dug into the ground, the ground was pilled on top, giving the impression that this house is composed within the original topography.

exterior

Richard Davies / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

exterior

Richard Davies / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

exterior

Richard Davies / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

exterior

Richard Davies / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

interior

Richard Davies / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

interior

Richard Davies / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

site plan

Future Systems / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

site cross-section

Future Systems / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

cross section

Future Systems / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

perspective drawing

Future Systems / Clare Melhuish: Modern Houses 2, Phaidon, London, 2000

Solar House I is a zero energy home located in the Rhine valley. The east, south and west sides are covered with photovoltaic panels, apart from where interrupted by floor to ceiling windows. As the north side can offer very little in terms of solar gains, this side is fully glazed offering panoramic views. The buildings massive reinforced concrete structure acts as a thermal heat sink. The raw concrete interior spaces are bright in colour and gently radiate heat. The external appearance due to the use of glazing changes from shiny to opaque black or grey. Even during the winter when sunshine does not exceed two and a half hours a day the solar facade provides enough energy to cover heating and electrical needs.

exterior

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

exterior

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2009

detail photo

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2010

detail photo

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2011

exterior

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2012

detail photo

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2013

interior

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2014

interior

Grazia Ike-Branco / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2015

floor plan

Glassx AG, Dietrich Schwartz / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2015

The project aim was to produce modular housing for occasional use. These individual units to be located in areas without infrastructure connections and not require impacting the site (urban parks, national parks or beaches). These modules can be combined or divided as required. These habitable units are autonomous: can be placed anywhere, using solar energy and built in water management systems.

A single coherent interior space of 27 square metres provides adequate comfort for one person, including a bathroom, closet and kitchen all built as items of furniture. The modules are built from lightweight steel frames covered inside and out with timber panelling. this project was developed at a prototype stage, not for mass production. The important factor being the thought process regarding precise planning and use of technology.

exterior

Luis Ferreira Alves / Luisella Gelsomino, Ottorio Marinoni: European Housing Concepts 1990-2010, Editrice Compositori, Bologna, 2009

interior

Luis Ferreira Alves / Luisella Gelsomino, Ottorio Marinoni: European Housing Concepts 1990-2010, Editrice Compositori, Bologna, 2009

interior

Luis Ferreira Alves / Luisella Gelsomino, Ottorio Marinoni: European Housing Concepts 1990-2010, Editrice Compositori, Bologna, 2009

floor plan

Fatima Fernandes - Michele Cannata / Luisella Gelsomino, Ottorio Marinoni: European Housing Concepts 1990-2010, Editrice Compositori, Bologna, 2009

cross section

Fatima Fernandes - Michele Cannata / Luisella Gelsomino, Ottorio Marinoni: European Housing Concepts 1990-2010, Editrice Compositori, Bologna, 2009

cross section

Fatima Fernandes - Michele Cannata / Luisella Gelsomino, Ottorio Marinoni: European Housing Concepts 1990-2010, Editrice Compositori, Bologna, 2009

The designer's of this house were not satisfied with the idea of creating a sustainable home they wanted to consider the materials used, site location and mechanical services solutions. The house was placed of four remaining points of a previous, demolished, building in order to create minimum site impact. The building is from steel and timber to allow for easy demolition, recycling, when required. The building for is optimal for views required and site orientation. The outer skin of the house is designed to allow for passive, gravitational, ventilation.

exterior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 340. old.

exterior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 340. old.

exterior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 341. old.

exterior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 342. old.

exterior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 342. old.

interior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 342. old.

interior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 342. old.

exterior

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

detail photo

Emilio P. Doiztua / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

elevation

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

floor plan

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

floor plan

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

cross section

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

cross section

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

elevation

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

perspective drawing

Ecosistemaurbano / 5/Architecture sustainable , Editorial Pencil s.l., Valencia 2007, 343. old.

Latest building technologies were used in this, Fujy, house as an architectural prototype for sustainable homes. Only materials that can be recycled are used for structural, surfaces and furnishing items. Timber used had to come from forests with a proven, certified, sustainable management policy. Passive energy solutions were adopted to allow for low energy consumption: thermal/acoustic insulating block walls, single layer waterproofing and timber used to reduce thermal bridging. Solar panels provide for heating requirements and a special condensing boiler for hot water needs.

exterior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

exterior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

exterior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

exterior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

interior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

interior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

detail photo

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

detail photo

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

interior

Miguel de Guzmán / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

floor plan

Fujy naturally architecture / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

floor plan

Fujy naturally architecture / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

cross section

Fujy naturally architecture / Simone Schleifer: Small Eco- Houses, Evergreen GmbH, Köln 2008

In 2005 the Rural Studio started a program in Hale County to design social housing projects that could be copied local contractors. to date nine homes have been built, this is the eighth. The house to be constructed at a summer practical training camp in a period of three to four weeks, following development of ideas at Rural Studio over a period of one academic season (8 months). The materials used should be recyclable and of modest character. Maintenance costs should be kept to a minimum by design without loss of modest comfort levels.

exterior

Rural Studio / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

exterior

Rural Studio / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

exterior

Rural Studio / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

exterior

Rural Studio / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

exterior

Rural Studio / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

interior

Rural Studio / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

floor plan

Rural Studio, Auburn University / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

elevation

Rural Studio, Auburn University / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

elevation

Rural Studio, Auburn University / http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/house_viii_daves_house

The Vals Villa is built close to the famous thermal baths of Vals. Strict planning code prevents anyone from erecting building's that might obscure views from the baths, this is why the architects chose to excavate the site and build underground. Entrance to this house is by means of a long underground tunnel and stairs accessed via an existing agricultural building. On arrival in the living room the space opens onto a patio overlooking the valley. The slope of the terrain resulted in the final elliptical form of this excavation. The interior spaces are made even more exciting by means of varying ceiling heights. Heating of this home is by means of the central fireplace, which heats the floor slabs, and geothermal heat pumps. Electricity is provided by a nearby hydroelectric power station.

exterior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

exterior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

exterior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

exterior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

exterior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

interior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

interior

Iwan Baan / http://www.archdaily.com/43187/villa-vals-search-cma/

perspective drawing

SeARCH / CMA - Christian Müller / http://www.archdaily.com/43187/villa-vals-search-cma/

floor plan

SeARCH / CMA - Christian Müller / http://www.archdaily.com/43187/villa-vals-search-cma/

floor plan

SeARCH / CMA - Christian Müller / http://www.archdaily.com/43187/villa-vals-search-cma/

floor plan

SeARCH / CMA - Christian Müller / http://www.archdaily.com/43187/villa-vals-search-cma/

cross section

SeARCH / CMA - Christian Müller / http://www.archdaily.com/43187/villa-vals-search-cma/

cross section

SeARCH / CMA - Christian Müller / http://www.archdaily.com/43187/villa-vals-search-cma/