Georges Rousse is a French photographer who makes photos of desolate or abandoned spaces. But before he does that, he paints some precise geometrical shapes which are some kind of optical illusions.
The Narrow House designed by Bassam El-Okeily in Bilzen, Belgium.
via today and tomorrow
Having inherited a small building plot in the town of Feldkirch close to the Swiss border, a young woman demand for a home that would perfectly fit her individual needs, without exceeding the extremely tight budget. Best possible use of space with a custom-made building was the main goal to be achieved.
With a total area of 120 sqm – including a garage (according to building code needed) – spread over 3 levels, the building occupies a minimal footprint on the plot, leaving most of the garden unaffected. The resulting advantageous volume-to-surface ratio ensures sustainable, energy-efficient and cost-effective living.
To build in the height creates the great advantage of free view in spite of expected compaction in the neighborhood. On the ground floor a “summer-studio” directly links to the garden, bath and bedrooms are located on the second floor, while kitchen, dining and living area are situated on the top floor – offering a preferred view to the Swiss mountains. The levels gain their own characteristics by the uniqueness of the windows. Varying in size and position, every opening controls and focuses the perception of the outward landscape in its own way.
Prefabricated timber-elements for walls and ceilings, being already fully equipped with technical installations and the interior panelling made from birch plywood, ensured short construction time and low building cost.
The essential aim of the project is to define a novel approach to one of the true challenges of contemporary architecture: low budget – high quality.
Suppose Design recently finished a family house In Obama, in the Fukui prefecture on the sea of Japan. The site, situated near the beach, posed climatic problems such as damage from the sea breeze. The client – the director of a clinic opposite the house – wished to combine openness on the ground floor to allow for parking spaces for his clients with more protected first floor living spaces.
Kitchen space, bathrooms, study corners and storage are strategically placed at the perimeter of the site to form a buffer around the living areas and bedrooms to protect them from the harsh climate. Light and air are allowed in through the insertion of courtyards with glass-framed walls between the rooms. It opposes the notion of letting the outside world in and offers an intimate controlled environment, but one that can be very open at the same time.
The house is very spacious within the Japanese context, the built areas measure 171 square meters. This size allowed for generously sized rooflights and courtyards, to ensure a flood of natural light throughout the house. The open character of the first floor was created by using a supporting steel structure, held up by reinforced concrete elements on the ground floor.
Suppose Design aims to create an architecture with a strong interaction between inside and outside environment to ultimately blur the boundaries between them and to create one continuous connected space. The use of identical floorboards in internal and external areas, running along the length of the house, underline this concept. It carefully blends the need for protection and privacy with the notion of the Japanese courtyard which results in a refined contemporary living space.
Parsonson Architects designed this rural home in Shoal Bay on the rugged east coast of the North Island of New Zealand.
Shoal Bay is a remote settlement on the rugged east coast of southern Hawkes Bay. The building is designed to be part of the rural setting, raised off the ground and sitting beside the original woolshed, which has served the bay since the early 1900’s. The house is rugged yet welcoming and offers unpretentious shelter, it is the type of place where you kick off your shoes and don’t need to worry about walking sand through the house.
The house is formed of two slightly off-set pavilions, one housing the bedrooms and the other the main living space. Decks are located at each end of the living pavilion allowing the sun to be followed throughout the day. Sliding screens at the north-west end provide adjustable shelter for the different wind conditions, offer privacy from neighbouring campers and act as walls for outside sleeping.
The space is for shopping but also for holding events. The concept of the store is space that is changing its view or atmosphere depending on where you are standing, such as caves or limestone caves. At some points the place offers a view to the end of the store, and also it has an area surrounded by the inner partitions. The experience walking through the artificial yet random space would be close to something like walking in nature. The purpose of the design is to offer a new shopping experience that people could see products through strolling in nature.
The materials of the partitions are paper tubes that are strong and easy to work with, and moreover, they are using for tubes to roll up cloths. The tubes are layered randomly as to be uneven surfaces and create arch shapes as partition for the store.
Because of the arches, the store creates various spaces that are irregular and complex, such as caves in nature. The boutique could be used in different way with the unique characteristics of the partitions through a year. We believe that the store would be a chance to find a new and fresh relationship between people and products.
Iwamoto Scott’s proposal for the Guggenheim’s Contemplating the Void.
LIGHTCONE uses fiber-optic lines to turn the void into a light channel with different purposes:
Like Frank Lloyd Wright’s Guggenheim itself, LightCone forms a choreography of light, art and movement through space.
Informed by Wright’s spiral-conical geometries, LightCone combines three different arrays of suspended fiber-optic lines: 1) The central conical array transmits and transforms the light of the sky from the large overhead skylight. 2) The surrounding spiral array pulls in the changing light of the city outside from the spiraling skylights that follow the ramp. At night these two arrays switch over to artificial light powered by batteries, solar-charged from transparent photovoltaic film applied to the skylight glass. 3) The peripheral array’s mediated light projects images from the NY Guggenheim’s collection. Fed from a digital database, these images can be arranged in a variety of ways: by default they are organized chronologically along the building’s five ramped galleries into five decades. Within each structural bay between the supporting piers, the viewer can use an interactive device to reorganize a sampling of the collection by artist, by genre, by size, by color, etc.
LightCone ultimately attempts to further Wright’s interests in exploring the plasticity of structure, the continuity of space, and “bringing the circle into the third and fourth dimension”, while integrating five decades of content from the Guggenheim’s collection into the building’s spatial experience.
– Iwamoto Scott Architecture