Yona Friedman is recognised as one of the most eminent proponents of 1960s avant-garde urbanism. His best-known work is the concept for a Spatial City (“La Ville Spatiale”, 1956), in which he aimed to provide maximum flexibility through “megastructures” over existing cities and other locations. Inhabitants were meant to design their dwellings within these structures. Friedman sought to provide people in every part of the world with the knowledge and fundamental structures to determine their own environment for living and to enhance their independence and self-reliance.
This new book offers a unique collection of brief texts and annotations as well as an abundance of images, sketches, drawings, watercolours etc. by Friedman himself. It also features a vast range of documents related to his work. In part II, Manuel Orazi gives an analysis of Friedman’s oeuvre, based on extensive research. He follows the architect’s progress through disciplinary and geographic areas apparently remote from one another, in which Friedman has been moving erratically and incessantly. Orazi also expands on historical, social and political contexts. A documentation of Friedman’s intellectual relationships and other resources, an interview with Swiss architect Bernard Tschumi about Friedman, and a comprehensive bibliography round out the book.
The term “smart” in reference to homes and communities describes places whose function is related to or affected by information technology. In the wake of the ongoing digital revolutions of the 21st century, designers and planners are paying significant attention to the design of dwellings and neighbourhoods and are considering new economic realities, by integrating innovative digital appliances, which are also helping to foster economic sustainability for future generations. In this important book, Avi Friedman, Professor of Architecture at McGill University in Montreal, examines these concepts and their applications through several revealing essays, which are illustrated with lavish full-colour photography, detailed diagrams, and technological insight through a selection of case studies from around the globe. The text comprehensively investigates several key topics, namely the correlations between the built and the natural environments and their ecological attributes; issues of mobility and transportation; the mixing of amenities and residences; district heating and other energy efficiencies; planning for green open space while considering the residents’ lifestyle; edible landscapes and novel urban agriculture practices and their implementation; reducing a community footprint with regards to the evolution of high-density living; the principles of heritage conservation within communities, where social, economic, and environmental issues are all present, where old is mixed with new; how sustainability is achieved when dwellings are designed for and equipped with advanced “green” technologies, for adaptable homes, multi-generational dwellings, add-in and add-on units, and plug and play, among others.
There’s something especially beautiful about being able to look to the full expanse of a horizon, something that speaks to the most ancient part of our soul. With the continuing build up of our surroundings, that precious ability to gaze into the unfettered distance is one we all appreciate and savour.
This stunning edition showcases incredible houses in simply amazing locations, where the architect has rightly championed the accessibility to the endless views. Lavishly illustrated with full-colour images of award-winning architecture, this compilation draws you in through its winning designs, but its the glorious and enticing images of the vast horizon that will capture your imagination.
We may all not be lucky enough to inhabit an eye-catching designer home with views to die for, but at least we can all share the beauty through these breathtakingly evocative images. Truly a book in which to lose yourself.
What happens when an architect sets out to design the extraordinary, and by doing so challenges the established norms of the industry? A riot of inventive and ingenious residential structures to delight the eye and gladden the soul. This book decodes a wide selection of stunning experimental designs. By shaking off any limitations and seeking to challenge established design conventions, and using architectural ingenuity and modern technical aspiration, these carefully selected architects show how they develop bold and striking designs that will serve as inspiration for years to come, creating home designs that are both out of left field and can take residential ingenuity to the next level.
This edition is lavishly illustrated with crisp and evocative full-colour images of the architecture, with insight from the architect detailing their inspiration and the challenges encountered through the designing and building processes. Whether it be a uniquely challenging location, the decision to use materials in innovative ways, or simply experimenting with a new design shape, the works featured within these pages challenge the everyday notions of what a residence should be.
Through these pages, the reader is drawn into a beautiful journey through a diverse range of truly beautiful homes as imagined—and realised—by some of the best architectural visionaries of our time.
New challenges on a global scale have forced a rethinking about the way homes and communities are designed. Future Homes provides an engaging and in-depth analysis of possible solutions, providing hope for the future. Broadly speaking these challenges came in three ways: environmental, social, and economic. The challenges posed by climate change demand urgent consideration and response. But a change in methodology and the ingenious employment of technological advances offers solutions to these challenges. This book provides important examples of ways to meet the global challenges by using innovative concepts and practices, leading to a transformation of how residences will appear in the years to come.
With sustainability as an overarching strategy for future retooling and design of our homes, it’s worth taking a look at the new challenges we face and the ways they can be approached by stakeholders such as urban planners, architects, designers, builders, and individuals considering building their own home.
Rooted in the belief that a house is the product of the time, the place, and the people, Liljestrand House takes us through the lives of Betty Liljestrand, Howard Liljestrand, and Vladimir Ossipoff. Told through narrative prose and enriched with personal, primary source materials from the family’s archive, the book reveals how the combined lived experiences of everyone involved, and the unique climate of Hawai’i, informed the decisions that shaped the design of the home. Diving deep into the history of the land, people, and the politics of the time, it features original photographs from Betty and Howard; sketches and early designs by Vladimir Ossipoff; and a collection of personal and professional photographs taken of the house, then and now.
The Liljestrand House in Honolulu, Hawaii, was designed by Vladimir Ossipoff for Dr. Howard and Betty Liljestrand, who had bought the hillside site overlooking downtown Oahu in 1948. Completed in 1952, the house “was perhaps Ossipoff’s most intricate as well as his most widely publicised domestic commission.” After it was featured in House Beautiful magazine as a Pace Setter House in 1958, it attracted hundreds of visitors in organised weekly tours. It was listed on the National Register of Historic Places in 2008.
The genesis, development and life-long occupation of the McIntyre house, built in 1972 as part of a multiple-dwelling subdivision, provides possible answers to some very pressing contemporary design questions. How might one live near the city and be respectful of nature? How might efficiently built dwellings also be spacious and dense site occupation still allow for privacy? This history is recounted through text augmented by photographs and site diagrams, house sections and plans. They reveal a modern architecture on the west coast that resulted from an interplay of both the physicality of the land and a culturally imbued landscape.
“Do come in as often as you like – the place is only alive when used” – Jim Ede
Take a room-by-room journey through the Kettle’s Yard house in Cambridge (UK), former residence of curator and ‘friend to artists’ Jim Ede and his wife Helen. Home to their substantial collection of 20th century art, furniture, ceramics, glass and natural objects, the house remains open for visitors to experience as the Ede’s intended: art as a way of life.
The carefully curated interior spaces in the original converted cottages (1957) and Leslie Martin-designed extension (1970) are a masterclass in balance and restraint, appealing to aesthetes across the spectrum of art and design from fine art to fashion; interior designers, architects and art historians.
Richly illustrated with new photography by Gilbert McCarragher and inspired by classic mid-century guidebooks, this book will catch the eye of long-time fans of Kettle’s Yard as much as those discovering the house for the very first time. A companion publication Kettle’s Yard Art & Artists ISBN 9781904561620 is also available.
In the South of France, sited on a hill of olive trees, pinus pinea, and a vineyard, a family retreat was designed with a key mission of maintaining the vitality of the site. A small agricultural plot, the site offered the possibility of amplification. With the introduction of a garden and many outdoor living spaces, the family had the intention of cultivating the landscape as part of their stewardship. In part a response to a programmatic brief, but moreover, a discursive response to architectural predicaments of geometry, typology, and anomaly, the house is also a response to Preston Scott Cohen’s pedagogies on architecture.
One House Per Day no.001-365 collects the first 365 drawings from Andrew Bruno’s project One House Per Day, along with a foreword by Keith Krumwiede and essay contributions by Malcolm Rio, Alessandro Orsini & Nick Roseboro, and Clark Thenhaus. The drawings are high quality 1:1 reproductions of the originals, and the 7.5” trim size matches the size of the sketchbooks that the originals were drawn in. The drawings are each given a full page, with a subsequent section including a brief description of each drawing. While the drawings themselves are mute, and their descriptions relatively deadpan, the essays contemplate the place of the detached house in American culture from social, political, and economic perspectives. The book is 392 pages long and is softbound in grey recycled paper. The front cover features 365 debossed circles to represent the 365 houses; these give the book a unique tactile quality.
WOJR, Organization for Architecture, based in Cambridge, MA, is dedicated to the idea of architecture as a form of cultural production and works at the interface of art, architecture and urbanism. The House of Horns, a private residence at the foot of the Santa Cruz Mountains outside San Francisco, is the first major project that WOJR has realised and it represents the synthesis of core themes and ideas from the firm’s first 10 years of practice.
This book documents the House of Horns in the form of a photographic narrative. It shows the building as a spatial and chronometric instrument, which manifests the central idea of the design. The images by architectural photographer Nick Dearden explore the house’s rooms and spaces with their characteristic horn-shaped openings that create relationships with the surroundings and enable the perception of the elapse of time through incident daylight. The texts investigate WOJR’s working methods, the House of Horn’s design process, and the discipline of architecture as a whole. Drawings, plans, sections, and elevations, as well as detailed information on the building, round off the beautiful, large-format volume.
Recognising that buildings are a major contributor to global warming and the critical role of embodied versus operational carbon, the book focuses on houses built from materials that either sequester carbon (plants), use materials with very low embodied carbon (earth and stone) or reuse substantial amounts of existing materials. Organised by those materials (wood, bamboo, straw, hemp, cork, earth, brick, stone and re-use), and incorporating life cycle diagrams demonstrating how the raw material is processed into building components, the book shows how the unique properties of each material can transform the ways architects conceive the sections of houses. The house was selected as the vehicle for these investigations due to its scale, its role as a site of architectural experimentation, and its ubiquity.
Building on the techniques of the Manual of Section, the book is comprised of newly generated cross-sectional drawings of 55 recent, modestly sized houses from around the world, making legible the tectonics and materials used in their construction. Each house is also shown through exploded axonometric, construction photographs and colour photographs of the exterior and interior. Introductory essays set up the importance of embodied carbon, the role of vernacular plant-based construction and the problems of contemporary house construction. Drawing connections between the architecture of the house, environmental systems and material economies, the book seeks to change how we build now and for the future.
Michael Glancy is widely recognised as a prominent innovator in the field of studio glass. After studying with the critically acclaimed glass artist Dale Chihuly, he found his own artistic personality by combining different techniques: Glancy works with cold glass, which he sculpts through sandblasting and acid-cutting, and then coats with electroformed copper, silver or gold. Elegant and exceptional in their quality and beauty, Michael Glancy’s sculptures reveal the artist’s pursuit for perfection; fascinated by microscopic landscapes, Glancy translates cellular structures and geological stratifications into impressive sculptural objects. The lattice patterns etched into the glass suggest latitude and longitude, while the organic and undulating vessels allude to topography. Glancy’s own very specific mode of presentation – that of a base of sheet glass which shadows or connects to the standing vessel – has become his signature style. It is as if the two-dimensional world of the sheet of glass has developed and warped itself into a three-dimensional object.
This transformation together with his scientific interests, positions his work between alchemy – at the intersection of physics and metaphysics – and conceptual art. Michael Glancy’s work is represented in numerous international museums and collections. Since 1982 he has taught and worked at the Rhode Island School of Design.
Current design modes of student residences are facing challenges of both philosophy and form. Past approaches no longer sustain new demands and require innovative thinking. The need for a new outlook is propelled by fundamental changes that touch upon environmental, economic, and social factors. Thinking innovatively about university accommodation led to the idea to write Innovative Student Residences. The author offers a fascinating insight into contemporary design concepts and illustrates them with outstanding examples, showcased by full-colour photography and detailed plans.
Architects featured include: Architectus, Australia; Tony Owen Partners and Silvester Fuller, Australia; Baumschlager & Eberle, Austria; Tetreault Parent Languedoc & Saia Barbarese Topouzanov, Canada; Régis Côté et associés, architectes, Canada; NOBEL Arkitekter, Denmark; Lundgaard & Tranberg Arkitekter, Denmark; ARKITEMA Architects, Denmark; AART, Denmark; Emmanuel Combarel Dominic Marrec Architectes, France; Charlotte Cattani and Alberto Cattani Architectes, France; 2A Design (formerly CG Architectes), France; OFIS Arhitekti, France; Arge Werner Wirsing Bogevischs Buero, Germany; Arons en Gelauff Architecten, The Netherlands, Architectenbureau Marlies Rohmer, The Netherlands; Mecanoo Architecten, The Netherlands; Fact Architects, The Netherlands; Studioninedots, The Netherlands; Tempohousing Global, The Netherlands; Architectus, New Zealand; MEK architects, Norway; Bevk Perovic Arhitekti, Slovenia; Mateo Arquitectura, Spain; H Arquitectes and dataAE, Spain; HawkinsBrown, United Kingdom; Haworth Tompkins Architects, United Kingdom; GWP Architecture, United Kingdom; GWP Architecture, United Kingdom; Haworth Tompkins Architects, United Kingdom; Kieran Timberlake, United States; Mahlum, United States; Studio E Architects, United States; JAHN, United States; Mack Scogin Merrill Elam Architects, United States; Carrier Johnson + Culture, United States; Steven Holl Architects, United States; Mack Scogin Merrill Elam Architects, United States.
On Charles II’s restoration to the throne in 1660, four of his supporters were provided with plots of land in a leafy suburb of London, on which to build their extravagant town palaces. The only one to survive – built for the poet and courtier Sir John Denham and now situated in the heart of Piccadilly – was to become the home of the Royal Academy of Arts, its exhibitions and its Schools. This important study charts the history of the estate through its various owners, including the 3rd Earl of Burlington, who gave the house not only its name but also its distinctive and influential architecture. In his day, the house was host to leading scholars and celebrities, who met within Burlington’s cutting-edge creation, which remains an unparalleled exemplar of the Palladian style in England. Former Director of Collections at the RA, Nicholas Savage examines 350 years of social and architectural history, as well as revealing the next phase in the life of the estate, as the Royal Academy opens up Burlington House as never before in an exciting redevelopment led by Sir David Chipperfield CBE RA to celebrate the institution’s 250th anniversary.
Christmas at the White House is the most beautiful and grand celebration of the year. As Chief of Floral Design during the Obama administration, Laura Dowling was responsible for the dazzling floral pieces that made the season so memorable. Here, she invites readers behind the scenes of this complex year-long planning process, where some of the most innovative and ambitious hand-made craft displays were created. From architectural details including intricate hydrangea-covered archways, illusionary cube-patterned column covers, and gilded maple leaf rosette panels, to sugar paste floral vases and robotic versions of the First Family’s dogs, the décor inspired and delighted visitors and guests from across the country and around the world.
In addition to her White House experiences, Laura shares advice and ideas, tips and techniques for planning holiday-themed displays at home, including step-by-step instructions for re-creating some of the most popular and original White House holiday designs.
“Children are like crazy, drunken small people in your house” – Julie Bowen – Modern Family
Whoever welcomes children says goodbye to a tidy and perfectly-styled house. Babies and children grow and develop through play, and that means lots of toys. This can create chaos and sometimes less attractive corners in the home that are expertly hidden, moved, or simply ignored in most residential magazines. Lifestyle journalist and young mother Joni Vandewalle knows that a messy house, where children can play freely, is a happy house. Creating children’s rooms for optimal use is a challenging job, but one that is immensely rewarding for the whole family. In this book, she has selected 20 houses where clutter creates atmosphere, and where colourful play spaces and creative storage solutions prioritise activities where children can grow and play. This book is full of design inspiration for all parents and parents-to-be.
Fallingwater is the most famous modern house in America. Indeed, readers of the Journal of the American Institute of Architects voted it the best American building of the last 125 years! Annually, more than 128,000 visitors seek out Fallingwater in its remote mountain site in southwestern Pennsylvania. Considered Frank Lloyd Wright’s domestic masterpiece, the house is recognised worldwide as the paradigm of organic architecture, where a building becomes an integral part of its natural setting.
This charming and provocative book is the work of the man best qualified to undertake it, who was both apprentice to Wright and son of the man who commissioned the house. Edgar Kaufmann, Jr., closely followed the planning and construction of Fallingwater, and lived in the house on weekends and vacations for 27 years-until, following the deaths of his parents, he gave the house in 1963 to the Western Pennsylvania Conservancy to hold for public enjoyment and appreciation.
This is a personal, almost intimate record of one man’s 50-year relationship to a work of genius that only gradually revealed its complexities and originality. With full appreciation of the intentions of both architect and client, Mr. Kaufmann described this remarkable building in detail, telling of its extraordinary virtues but not failing to reveal its faults. One section of the book focuses on the realities of Fallingwater as architecture. A famous building right from its beginnings (only partly because it was Wright’s first significant commission in more than a decade), Fallingwater has accumulated considerable publicity and analysis-much of it off the mark. Mr. Kaufmann outlined and dealt with the common misunderstandings that have obscured the building’s true values and supplied accurate information and interpretations. In another section Mr. Kaufmann provided an in-depth essay on the subtleties of Fallingwater, the ideology underlying its esthetics. A key element of this is the close interweaving of the house and its rugged, challenging setting, which he explicated in fascinating detail.
The author maintained throughout the direct approach of one who knew and loved Fallingwater. As an apprentice and loyal admirer of the architect, Mr. Kaufmann was well attuned to the architecture. And as a retired professor of architectural history and frequent lecturer and panelist, he had considerable experience in presenting and interpreting Wright’s ideas. Thoroughly versed in the books, articles, drawings, and buildings of Frank Lloyd Wright, Mr. Kaufmann was eminently situated to place Fallingwater in that context. This unique record was presented in celebration of Fallingwater’s 50th anniversary.
Special features of this volume include: numerous never-before published photographs of the house under construction, during its entire history, and of the family in residence; a room-by-room pictorial survey in full colour taken especially for this volume; isometric architectural perspectives that explain visually how the house was constructed; and the first accurate, measured plans of the house as built.
In the East Falls neighbourhood of Philadelphia, just beyond the northern boundary of the Thomas Jefferson University’s East Falls campus, stands the Hassrick House (1958–61), designed by celebrated architect Richard Neutra, an icon of mid-century modern style. Often described as an East Coast interpretation of California Modernism, the Hassrick House is one of only three buildings designed by Neutra within the city limits.
Thomas Jefferson University’s relationship with the house began in the summer of 2015 when Andrew Hart, assistant professor of Architecture in the College of Architecture & the Built Environment initiated a series of summer courses to study the house. The first multidisciplinary group of students engaged in architectural survey, drawing, and photography. Subsequent summer courses refined the architectural drawings, following the Historic American Buildings Survey (HABS) and Historic American Landscape Survey (HALS) standards. Yet another student cohort undertook documentary research to uncover the history of the house and its occupants. Then owners George Acosta and John Hauser were supportive collaborators with students in this process. Neutra’s architecture and his relationship with the Hassricks – particularly Barbara who emerged as the primary client voice while the house was being designed – captured the hearts, minds, and imaginations of everyone who engaged with the house. As one student recalled, “We have all gotten swept away in the stories unfolding from our research.” In 2018, Hauser and Acosta sold the property to the university with the understanding that the house would continue to be used for educational purposes. In George’s words, “I had come to realize that the students can be the future custodians of that home. They can be the eyes. They can be the archives. In a way, it becomes all of ours to share.”
This publication chronicles the students’ findings that shed light on Neutra’s design process, his collaboration with his clients, as well as the unsung role of Thaddeus Longstreth as Neutra’s proxy negotiator throughout the design and construction stages. During its approximately 63-year lifespan, the Hassrick House tells a saga of design, dwelling, neglect, restoration, and reinvention today as a laboratory for learning. In many respects, the history of the Hassrick House tells an important story of the modernist movement in the US, both regionally and nationally.
Open House discusses the topic of temporary housing in architecture, art, design and humanitarian aid. The phenomenon of tiny houses fascinates and is currently trending in various media. In times of large migratory movements from poor to rich countries there is also an urgent demand for temporary housing in many places.
Eighteen international authors explore the intentions behind such constructions, their underlying principles and the lifestyle they convey. Their contributions reveal how these concepts relate to the very notion of habitat, to space, to pragmatic criteria, as well as to the time in which they are elaborated. Moreover, addresses various issues of individual housing through the featured original installations, and spatial experiments.
Open House is published in conjunction with a two-year research project and an open-air exhibition of the same title in Geneva in summer 2022. Book and exhibition comprise around 40 designs by artists, architects, designers, architecture schools and research institutions, as well as humanitarian organisations, such as Andrea Zittel, EPFL Laboratoire ALICE, Global Shelter Cluster, Gramazio Kohler Research at ETH Zurich, Jean Prouvé, John Armleder, Kengo Kuma, Kerim Seiler, Matti Suuronen, Maurizio Cattelan and Philippe Parreno, the UNHCR, and others.
Text in English and French.
Today, Dom Hans van der Laan (1904–91) is something of a cult figure of European post-World War II architecture. The Dutch Benedictine monk and architect dedicated his life to the search for fundamental principles of architecture, and his thoughts on numerical relationships and dimensional systems were highly influential in mid-20th-century architectural theory.
A House to Live With is the first book to comprehensively explore van der Laan’s residential buildings. Sixteen of them, built between 1966 and 1985, are featured in full detail through photographs and plans newly produced for this book, and analysed with regard to their compositional and design principles. Essays examine the mathematical relationships of numbers and volumes that are fundamental to van der Laan’s designs, alongside discussion of how he was influenced by ancient Roman architecture. Light is shed also on the interplay of house and garden and house and patio, and the positioning of the one large table in the house, which to van der Laan was of key significance.
Thoroughly researched and highly readable, this volume introduces Hans van der Laan’s architectural ideas and housing designs in full, thus forming a rich and useful source for contemporary architects.
The beach house exerts an irresistible emotional pull on us. The idea of a house on a faraway shore, or a remote cliffside redoubt, represents freedom, escape, luxury, and the romance of a simpler, more sensual way of life. From the Maldives to Malibu, Beach House takes readers on a stunning photographic journey through the world’s most beautiful and stylish coastal homes, told through interviews with leading architects and interior designers. Explore the barefoot luxury of African cabanas and Balearic chic; discover Olson Kundig’s contemporary architecture in the Pacific Northwest, and Tropical Modernism in Brazil and Costa Rica.
Featured properties include Su Casa – the remarkable Mission Revival beachfront residence in Puerto Rico restored by Champalimaud Design; and the iconic Casa Piscina del Cielo in Mexico by Zozaya Arquitectos. Experience a wild cliffside casale on the remote Italian island of Alicudi, a super-stylish Mykonos villa by Hubert Zandberg, and an Indian Ocean hideaway by superyacht designers Winch. With over 250 beautiful colour images in a large-format cloth-bound edition, Beach House is the essential global survey of the world’s most seductive and stylish seaside residences.
The Italianate villa, Chakrabongse House was built almost 120 years ago on the east bank of the Chao Phraya River with magnificent views to Wat Kalaya, the Wichai Prasit fort and Wat Arun. It was commissioned by Prince Chakrabongse and his wife Katya as a private retreat from their main residence Paruskavan Palace. Designed by Turin-born architect Mario Tamagno, the tall villa with its beautiful teak staircase and panelling has accumulated paintings and works of art from three generations of the Chakrabongse family. Prince Chula who inherited the house after the sudden death of his father in 1920 never lived here full time. Educated in England, the prince’s plans to spend more time in Bangkok were foiled by the Second World War. Instead he lived in Cornwall, while the house in Bangkok was well maintained but somewhat unloved. It was only when Narisa, who inherited the house on the death of her parents, that creating a home full of antiques, paintings and memories began.
In A House by the River Narisa takes the reader through her home, pointing out some important features and the precious items it contains. She also recounts the stories, happy and sad, of the people who stayed here – Prince Chakrabongse, Prince Chula, Lisba and now Narisa and Gee. She also explains why she started her publishing company and opened the boutique hotel, Chakrabongse Villas.
B.C. Binning taught that architecture has an intrinsic link to art and life. This book follows in his footsteps, focussing on what is arguably his greatest creation: the first significant piece of modern residential architecture in Western Canada, the BC Binning House. Still standing in West Vancouver as a National Historic Site, the house has influenced generations of architects and continues to do so today. The structure is often thought to have sparked Canada’s West Coast Modernism movement, as it represents both the arrival of Modernist design principles and their inflection with local interests and conditions.